EURIPIDES

Alcestis

e d i t e d w i t h t r a n s l a t i o n a n d c o m m e n t a r y by

D. J. Conacher

ARIS & PHILLIPS LTD

0 D . J . Conacher 1988. A l l rights reserved. No part of this publication
may be reproduced, stored in a retrieval system, or transmitted in any
form by any means without the prior written permission of the publishers.

I B J L I British Library Cataloguing in Publication Data

CONTENTS
Euripides
Alcestis. — (Classical texts).
I. Title Π. Conacher, D . J . GENERAL EDITOR'S FOREWORD iv
m. Series
882\01 PA3973.A5 ACKNOWLEDGEMENTS ν

ISBN 0 85668 234 9 c l o t h GENERAL INTRODUCTION TO T H E SERIES 1

ISBN 0 85668 235 7 l i m p Notes to General Introduction

Classical texts ISSN 0953 - 7961 GENERAL BIBLIOGRAPHY 22

BIBLIOGRAPHY TO A L C E S T I S 27

INTRODUCTION TO A L C E S T I S
I. Ancient information 29
Π. The myth and its adaptation 30
ΙΠ. The play and its problems
i. Genre and tone 35
ii. Themes and structure 37
iii. The treatment of Admetus 43
iv. Some other views 46
v. Visual aspects 47
IV. The text 48
Notes to Introduction to A l c e s t i s 50
Printed and published in England by ARIS & PHILLIPS Ltd,
Teddington House, Warminster, Wiltshire, BA12 8PQ, England. TEXT AND TRANSLATION 59

COMMENTARY 155

INDEX 201
 ACKNOWLEDGEMENTS
GENERAL EDITOR'S FOREWORD
9 The text used in this edition is reprinted, by permission of the
Euripides remarkable variety of subject, ideas and methods challenges
Clarendon Press, from the Oxford Classical Text of Euripides (vol. I,
each generation of readers — and audiences — to fresh appraisal and
Oxford 1984), edited by J . Diggle. The A p p a r a t u s C r i t i c u s has also, by
closer definition. This Series of his plays is in the general style of Aris
similar permission, been drawn from the same edition, except that
and Phillips' Classical Texts: it offers university students and, we hope,
orthographic trivia and the recording of obvious errors, where the
sixth—formers, as well as teachers of Classics and Classical Civilisation at
corrections are equally obvious, have been deleted. A l l such reductions
all levels, new editions which emphasise analytical and literary appreciation.
have, of course, been made on the responsibility of the present Editor. I
In each volume there is an editor's Introduction which sets the play in its
should like to record here my gratitude to Dr. Diggle and to the
original context, discusses its dramatic and poetic resources, and assesses its
Clarendon Press for their generous permissions.
meaning. The Greek text is faced on the opposite page by a new English
Certain passages in the Introduction (specifically Part Π and most of
prose translation which attempts to be both accurate and idiomatic. The
Part m [i]) have been reprinted (with a few minor changes) from D . J .
Commentary, which is keyed wherever possible to the translation rather
Conacher, E u r i p i d e a n D r a m a (University of Toronto Press and Oxford
than to the Greek, pursues the aims of the Introduction in analysing
University Press, 1967) pp. 327—31 by kind permission of the University of
structure and development, in annotating and appreciating poetic style, and
Toronto Press.
in explaining the ideas; since the translation iteself reveals the editor's
detailed understanding of the Greek, philological comment is confined to Among various studies and editions of the A l c e s t i s which I have
special phenomena or problems which affect interpretation. Those are the consulted, none has been more valuable to me (as readers will recognize
guidelines within which individual contributors to the Series have been from my own Commentary) than A . M . Dale's annotated edition of the
asked to work, but they are free to handle or emphasise whatever they play (Oxford 1954). Although the present edition takes a different approach
judge important in their particular play, and to choose their own manner in some respects, there remain certain areas where her learned and lucid
of doing so. It is natural that commentaries and commentators on Commentary "says it all". Nowhere, of course, is this so true as in the
Euripides should reflect his variety as a poet. metrical analyses of lyric passages. In this area, I have decided to suppress
comments of my own as either redundant or (more often!) derivative and
This volume is the fifth in the Series. The first, Trojan Women by simply to refer the reader to Miss Dale's supreme and acknowledged
Shirley A . Barlow (1986), included a General Introduction to the Series expertise.
written by her; it is reproduced in this volume, pp.1-21. The General
I should like to acknowledge a particular debt to the general editor of
Bibliography (pp.22-26) has been updated with the addition of a few
this series, Professor Christopher Collard, whose many valuable suggestions
items in Section VI..
and corrections have greatly improved both my translation and commentary.
For most plays in the Series the Greek text is reproduced from the
Needless to say, I alone am responsible for any errors and shortcomings
new Oxford Classical Text of Euripides, edited by Dr. James Diggle, with
that may remain.
his own and the publisher's generous permission; an explanatory note will
be found at the end of the Introduction, p.48. Finally I am grateful to my College, Trinity College in the University
of Toronto, for a typing grant, and to the patience and efficiency of Ms.
Siobhan Jones in typing the MS.
University College of Swansea Christopher Collard

iv
 GENERAL INTRODUCTION T O T H E SERIES

I. The Ancient Theatre

The contemporary theatre consists of many different types of

performance, and these are on offer most of the time at numerous small
theatres in many places, particularly in centres like London and New York
where the cultural choice is vast. Audiences go to only one play at a
time — unless, that is, they are attending something special like Wagner's
R i n g Cycle — and they go primarily for entertainment, not to be overtly
instructed or to discharge a religious obligation. The choice includes
musicals, ballets, operas, variety shows, classical plays, contemporary plays,
thrillers, serious prose plays, verse dramas, domestic comedies and fringe
theatre. Audiences range from the highly intellectual, who might be
devotees of serious opera, or of Becket or Eliot or Stoppard, to the
self—acknowledged low—brow, who go to the theatre to escape from real
life and have a night out away from the harassments of home and work.
In spite, however, of this range in type of audience, the English speaking
theatre—going public has long been, and probably still is, predominantly
middle class. It is not representative of all strata of the population*
I mention all these obvious things merely to draw a contrast with the
ancient theatre. For the classical Greek theatre did not have this
fragmentation of genre, location or audience. The genres were few, all in
verse, consisting of only four types — tragedy, satyric drama, comedy and
dithyramb. There were neither scattered small theatres, nor performances
on offer all the time. Theatres were outdoor, few and far between, and
performances were concentrated into one or two dramatic festivals held at
select times of the year. One could not go to the theatre all the time in
ancient Greece. Audiences were vast mass ones (probably 14,000, for
instance, at the theatre of Dionysus in Athens) and were drawn from a
wide section of the population. Moreover their reasons for going were as
much religious, or to glean instruction, as for pure entertainment. They
would not have expected their tragedies to allow them to escape into a
fantasy world which bore little relation to reality — or to escape into
another p r i v a t e domestic world which had no public relevance.
Greek Tragedy was in no way portrayed on a small canvas, nor was
it personal in character. It was grand and large, and it dealt with
elevated social, political, religious, and moral issues in elevated poetic
language. It conveyed these themes through traditional myth, and was thus
communal in another sense than just having a mass audience — it had a
mass audience with a shared heritage about to be presented on stage.
This heritage had both religious and secular associations.

1
 First, religious. Tragedy, like the other dramatic genres, was an Π. Greek Tragedy
offering to the God Dionysus whose statue stood in the theatre throughout
dramatic performances. The main festival at Athens, the Great Dionysia, Greek Tragedy treats passions and emotions of an extreme kind (fear,
happened once a year for a few days in the Spring when tragedies, anger, hate, madness, jealousy, love, affection) in extreme circumstances
comedies, satyr plays and dithyrambs were performed in open competition (murder, suicide, incest, rape, mutilation). Its potency is felt all the more
9
in Dionysus honour. The occasion was for the whole community and a because such circumstances and such emotions occur within the close
1
land of carnival air reigned. The law courts were closed. Distraints for confines of a family. Were the protagonists unrelated, such intensity
debt were forbidden. Even prisoners were released, according to would be lacking. Yet offsetting all this violence is the concentrated and
Demosthenes, and any outrage committed during the performance was controlled form of the plays which serves as a frame for the action. Of
treated as a sacrilegious act. all art forms Greek Tragedy is one of the most formalised and austere.
Although such r e l i g i o u s ceremonial was essential to the presentation of The combination of such formality with the explosive material it expresses,
drama at Athens, it was the state which managed the production side. A is what gives this drama its impact.
selected official, an archon, in charge of the festival, initially chose the In life, extremes of emotion do not often have shape and ordered
poets and plays, and was responsible for the hiring and distribution of neatness. They are incoherent and chaotic. The newspapers show
actors. Thus the theatre was also a state function. everyday the havoc wrought by acts like murder, incest, rape and suicide
Peisistratus had been the one to institute tragic contests recognised by - the very stuff of Greek Tragedy. Amid such havoc the perpetrators or
the state, and the first competition was held in 534 B . C . when Thespis victims of violent deeds seldom have either the temperament or the
won first prize. At each festival from then on, three poets were opportunity to express in a shaped form how they feel or felt at the time.
appointed as competitors, and each exhibited four plays (three tragedies Lawyers may later impose an order for them, but it cannot be t h e i r o w n
and a satyr play). The general name for the group of plays was response as it was at the actual moment of disaster. What Greek Tragedy
d i d a s k a l i a or teaching, because the author taught (edidaxe) the plays to does is to create an imagined action, through myth, where the characters
the actors. a r e able to articulate the thoughts and emotions which drive them, and
A herald proclaimed the victorious poet and his choregus (trainer of where the audience is given also the thoughts and emotions of those
the Chorus), and these were crowned with ivy garlands. The poet and involved with the main actors, i.e., relatives, friends, outsiders. It does
choregus who won a prize were listed on public monuments, and in later this moreover in such a way that the lasting effect is not one of
times actors' names were also recorded on official lists. The monuments repugnance, but of acceptance and understanding.
of stone erected near the Theatre of Dionysus at Athens, as well as The material of Greek Tragedy is shaped and transformed into art in
private monuments set up by the choregus, or the dedication of masks, two main ways. One is through the creative harnessing of ancient myth
marble tablets or sculptural reliefs and the d i d a s k a l i a i , show how high a and more modern insights. The other is through the formal conventions
place the tragic poet held in society. The place of the poet in ancient of language and structure.
fifth century society is thus different from the way poets or dramatists are First the combination of myth with more contemporary elements. By
regarded by most people today. His place was in a context of the whole this I mean the blending of traditional stories, the shared heritage, with
community and so was the subject matter of his plays. the perspectives which come from the city state, particularly fifth century
Athens. This means an explosive mixture of past and present. Consider
Note first the mythical element:—
The most scholarly and detailed discussions and evidence for the 1) Myth means t h e past to a Greek tragedian, a past which he has
festivals, staging and performances of the ancient Greek theatre may be inherited over centuries, ever since the earliest stories were recited to
found in A.W. Pickard-Cambridge, The D r a m a t i c F e s t i v a l s of Athens and his ancestors.
The T h e a t r e of D i o n y s u s i n Athens. Shorter and more easily digestible 2) This past myth is usually concerned with the h e r o i c - the great
treatments, also suitable for the Greekless reader, may be found in P.D. heroes as they are presented in epic and lyric poetry.
Araott, I n t r o d u c t i o n t o t h e G r e e k T h e a t r e , H.C. Baldry, The G r e e k T r a g i c 3) In this telling of the heroic, the i n d i v i d u a l is important. It is the
T h e a t r e , E . Simon, The A n c i e n t T h e a t r e , and T.B.L. Webster, G r e e k single figure and his greatness which stands out, whether Achilles or
Theatre Production. (See General Bibliography, Section VIII). A . E . Agamemnon or Odysseus or Ajax or Philoctetes or Heracles.
Haigh's The A t t i c T h e a t r e (Oxford, 1907 3), though very old now, and in 4) This single figure is so glorified that he may often have become,
many ways superceded, has some very useful details on ancient sources. in epic and particularly in lyric poetry, a model* an archetype of

2 3
 heroic qualities.
In Homer, whatever the heroes' faults, they are unquestionably great
Against this let us set the other side - the contemporary world of and glorious. Eulogy is implicit in the very epithets used to describe
the poet which must confront this mythical material. them. Pindar also eulogises several of the great hero figures who become
1) It is the present with present values and attitudes. later the subject of tragedies. Among them are Ajax, Heracles, Jason and
2) It is not a heroic world - it is the c i t y state with its keen Philoctetes.
interest in contemporary politics and social issues. Homer and Pindar both celebrate Ajax's greatness, particularly his
3) It is interested in c o l l e c t i v e values much more than in the lone physical strength. Homer calls him "great", "huge", "strong", "tower of
outstanding individual. The community matters. defence", "rampart of the Achaeans", "like a blazing lion". 5
He defended
4) It is interested in asking q u e s t i o n s , not in eulogising the great the ships against the onslaughts of Hector. He was pre—eminent in the
heroes - at least not exclusively. As Vernant says, when past battle for the body of Patroclus. He held a special place of honour at
heroes become incorporated into contemporary tragedy, they turn into one end of the Greek encampment. 6
Even in the Odyssey, in the
problems and cease to be models. Underworld, where he turns his back on Odysseus, his silence is majestic
In the creation of tragedy, therefore, we have the meeting of the and impressive. 7
Pindar glorifies Ajax in the fourth I s t h m i a n and pays
mythical past, with its stress on the greatness of the hero, with the tribute also to Homer's celebration of the hero's greatness. Neither Homer
contemporary present, with its stress on collective values and the asking of nor Pindar, however, ask fundamental questions about the nature of the
fundamental questions. Vernant puts it very elegantly. Tragedy is a man — they are content merely to celebrate him as a hero. But
debate with a past that is still alive" and Tragedy confronts heroic values Sophocles begins from where Homer and Pindar left off. He too
and ancient religious representations with new modes of thought that acknowledges this hero's greatness, but he asks stringent questions at the
2
characterise the advent of law within the city state". same time. His play A j a x is the vehicle for such questions: How can the
So too Nestte, Tragedy is born when myth starts to be considered world comfortably contain such an individual? How can society function
3
from the point of view of an (ordinary) citizen". properly with one such as him in its midst? How can Ajax himself
The heritage of myth is well represented by epic poetry in the shape survive when he confuses so tragically the roles of comrade—in—arms and
of Homer, and lyric poetry in the shape of Pindar. arch enemy? What does it mean to him mentally to take the decision to
Tragedy borrows heavily from the stories told by Homer. In fact kUl himself?
Aeschylus was said to have called his plays "rich slices from the banquet In this play we see Ajax not only as a glorious single heroic figure,
4
of Homer". From the I l i a d we meet again in tragedy the heroes but also as a tragic character who is so because he is isolated from others,
Agamemnon, Ajax, Menelaus, and Odysseus, as well as Hecuba, and is unable to communicate with them successfully. He is seen in the
Andromache, Helen and Clytemnestra. Other figures from the other epic perspective of those around him - Odysseus, Tecmessa, Teucer,
cycles such as Philoctetes, Heracles, Theseus and Oedipus form the main Agamemnon and Menelaus. Undoubtedly he has that epic s t a r q u a l i t y
subject of tragedies. which the others do not possess and the continuity with the heroic past is
Agamemnon for instance plays a leading role in Homer's I l i a d and important and a fundamental part of the whole conception — but that is
Aeschylus' O r e s t e i a , yet in the transformation from one author to another, not the whole of it. He is a problem both for himself and for others,
setting, concept and climate have changed. Agamemnon is no longer seen and because he is a problem we see the tragedy unfold. The heroic
as prestigious leader against the backdrop of a glorious war. The new individual is balanced against the collective values of a more modern
domestic situation in which he is depicted strips him both of prestige and society, represented particularly by Odysseus, and to some extent by
of a glorious cause. The righteousness of the Trojan war is questioned, Agamemnon and Menelaus — odious though they are. 8
What makes the
Agamemnon's motives are questioned, his weaknesses dwelt upon rather drama of the play is precisely this tension between the old heroic
than merely lightly indicated. In this new setting our concept of the hero individual concerns (the core of the myth), and the newer collective values
is found to undergo a change, but it is not only that the setting alone of society which had more relevance to Sophocles' own time. Of course
brings about that change, it is that the tragic poet explores a complexity this is an over—simplification — there are problems i m p l i c i t in epic too,
of motive, both human and divine, which would have been inconceivable in as in Achilles' case, but they are not articulated as problems, they are just
Homer's day. It is not simply the greatness of the heroic figure which told and the audience must draw its own conclusions.
interests Aeschylus, but the weakness and complex negative traits which One of the most eulogised heroes in Pindar is Heracles. He is
underlie the r e p u t a t i o n of that heroic greatness. He uses the familiar epic celebrated as the glorious hero par excellence — monster—slayer and
frame in which to paint a new picture in a dramatic form. civiliser of the known world. In the first Nemean Pindar introduces him,

4 5
and then goes on to describe his miraculous exploits as a baby when Hera implication which have a bearing on contemporary issues. Of these
9
sent snakes to destroy him in his cradle. In the ninth P y t h i a n are the nineteen, the Eumenides is set in Athens itself, Sophocles' O e d i p u s a t
words: Colonus 9
is set at Colonus, very near Athens, Euripides S u p p l i a n t s is set at
Stupid is the man, whoever he be, whose lips defend not Herakles, Eleusis very near Athens, and his H e r a c l e i d a e is set in Athens itself. The
who remembers not the waters of Dirke that gave him life, and rest are in Greek cities like Corinth, Thebes, Mycenae, or Troizen. A l l
Iphicles. these cities have a t u r a n n o s or sole ruler. The setting and the form of
I, who have had some grace of them, shall accomplish my rule are ostensibly archaic to fit the traditional myth, but again and again
vow to bring them glory; let only the shining the dramatist imports contemporary resonances which will be of particular
light of the singing Graces fail me not. 1 0
interest to his audience.
In the fourth I s t h m i a n he speaks of Heracles' ascension to Olympus Two of Sophocles' plays — the A n t i g o n e and O e d i p u s t h e K i n g —
after civilising the known world, and in the second O l y m p i a n he greets are set in a p o l i s , though that of Thebes not Athens, and both,
Heracles as the founder of the Olympic games. 11
particularly the A n t i g o n e , are to some extent concerned with the question
Euripides takes the spirit of the Pindaric celebration and incorporates of rule in relation to the ruler and his citizens.
it early in his play, The Mad H e r a c l e s , in an ode somewhat reminiscent of Sophocles was not on the whole aiming to make s p e c i f i c references
13
Pindar. 12
In it the chorus eulogises the great labours of Heracles, to the contemporary political scene although the plague at Thebes in
stressing his superhuman strength and effortless valour. But this dramatist O e d i p u s t h e K i n g will have awoken familiar echoes in the audiences'
too is concerned ultimately not with mere celebration but with problems. minds of their own privations from plague at Athens in the opening years
14
The end of the play shows a transformation: not the glorious invincible of the Peloponnesian W a r . But this aside, Sophocles was concerned in
hero, but a vulnerable human being struck down by madness. This is a these plays much more with general questions of what makes a good ruler
disgraced and humiliated Heracles who is broken and dependent. It is in a city, what stresses affect him and what should be his relations with
society who rescues him in the shape of Theseus his friend and the citizens. Such questions would be of perennial interest to the
Amphitryon his father. As the hero is brought down to the level of inhabitants of a city like Athens, even though the mechanisms of rule were
others, the superhuman isolation goes and human social values are seen to no longer the same as they had been under the tyrants, and even though
count. Once again the tension between the lone heroic figure and socially the dramatic location was Thebes not Athens.
co—operative values are worked through in the course of the drama. Such examples show that in Greek tragedy the archaic myths are
Perhaps nowhere is this blend of archaic myth and more recent transmitted not only to preserve their traditional features — though this
thought, of the clash between the heroic individual and collective transmission of the past is a vital ingredient of the dramatic conceptions
co—operation, seen more clearly than in Aeschylus' O r e s t e i a . There, an and indeed forms an assumption from which to view the whole dramatic
archaic story of the heroic Mycenaean age ends up in Athens — not 15
development — but they are also permeated by a sense of what the
famous in Mycenaean times at all, and an Athens, at that, with present and the city state mean. The old hero is put in a new context
contemporary resonances. The old story of a family's blood feud is played where new judgements are made on him. There is a sense of the
out in the Agamemnon and L i b a t i o n Bearers where the tribal law of community, sometimes represented by the comments of the chorus as
vendetta rules, and blood is shed for blood in seemingly endless succession. ordinary citizens, e.g. in the A n t i g o n e , O e d i p u s t h e K i n g , Medea and
In the last play of the trilogy - the Eumenides - a modern legal H i p p o l y t u s and sometimes by the comments of other characters who
solution is imposed, and by means of a new jury system at the court of represent the common good like Odysseus in the A j a x , Theseus in the
the Areopagus at Athens, a public not a private judgement is made on the H e r a c l e s , the messengers in the B a c c h a e . The hero may have greatness,
crime of murder. The setting up of this court in the play reflects an as he often has in Sophocles, but the greatness does not go unchallenged.
historical event, the confirmed attribution to the Areopagus of homicide It is not flawless. In Euripides the greatness may disappear altogether, as
cases in 462 B.C. by Ephialtes, and the patronage which Athene, the in the case of Jason, once the great hero of the Argonauts, and now a
patron goddess of Athens, extended to this institution and to Athens as a paltry mean—minded person caught in a shabby dometic situation, or
whole. Thus the present community of the whole city is inextricably Menelaus as he appears in the H e l e n or Agamemnon in the I p h i g e n i a i n
blended with what is ostensibly an archaic drama recounting an ancient Aulis.
myth. This questioning spirit so characteristic of Greek Tragedy is also
Thirty two tragedies survive, and of these, nineteen have as their important when one considers it as a religious event. It has often been
setting a city or p o l l s , a p o l l s with a ruler, a community and political said that tragedy's origins lie in ritual. 16
This may be true. But that

6 7
implies repetition, dogma and unquestioning belief, and classical tragedy was exchanges between actor and chorus, were in lyric metres of which there
never like this, although its performance was sacred to a god, and its was a wide range and variety to express different moods. Rhyme was not
content still reflected to some extent the relations between gods and men. used. Music would accompany the lyric portions, often on the pipe but
For gods as well as heroes were inherited from earlier myth and the the music accompanying the drama has unfortunately not survived except
innovations the dramatists bring to religious consciousness are just as for tiny almost unintelligible fragments.
important as the developing complexity in their grasp of human behaviour. The long spoken episodes, rather like acts, stand between shorter sung
In fact the two are inextricably linked. It is not too much to say that the choral odes, or s t a s i m a as they are sometimes called, of which there are
gods dominate the world of tragedy and those gods are no longer the usually three or four in the course of the play. A processional song
sunny Olympians of Homer. In the interval between the eighth century called the p a r o d o s marks the first entrance of the chorus into the orchestra
and the fifth, moral consciousness has been born and the gods become and the name is clearly associated with that of the p a r o d o i or
associated with the implacable punishment of men's wrongdoing. Whether side—entrances.
Aeschylus' all—seeing Zeus who is associated with Justice, or Sophocles' The choral odes were danced as well as sung, and had elaborate
relentless oracles which always come true in the fulness of time, or choreography which again has not survived. Modern productions have to
Euripides' pitiless Aphrodite or Dionysus, the gods hover above the heroes' use imagination in providing steps and music in which to express the lyric
actions watching men trip themselves up. And whether it is the passionate parts of tragedy, but they can on the whole successfully reproduce the
belief of Aeschylus, or the inscrutable acceptance of Sophocles, or the basic metrical rhythms and recurring patterns of the words themselves.
protesting criticism of Euripides, the gods are always there at the heart of The language in which iambic speech and choral lyric are written, differs.
tragedy and the new problematic lives of the heroes must be seen against The former is in the Attic dialect, the latter includes elements from a
this divine background. But tragedies are not sacred texts. By classical Doric form of Greek, perhaps reflecting the Peloponnesian origins of choral
times the art form was emancipated, and the authors free to change songs. There is the utmost contrast in Greek Tragedy between the spoken
traditional treatments, criticise even the divine figures and sometimes, as portion and the lyric. The former, though in verse, resembles more
Euripides did, show radical scepticism about the gods, their morals and nearly ordinary conversation and, with occasional colloquialisms, particularly
even their very existence. This is all the result of a creative meeting in Euripides, its language also owes much to rhetoric, particularly in the
between two worlds — the archaic, traditional, aristocratic, heroic world of set debate and the longer speeches. Euripides' language here is
myth, and the newer contemporary values of the democratic, highly social outstanding for its fluency and clarity of diction whether employed in
1 7
city state where the ordinary citizen's views counted in the general argument, appeal, statement of feeling or philosophical reflection.
reckoning of human conduct and achievement, and where contemporary The lyrics on the contrary are in more elaborate metres and highly
thinkers were questioning moral and theological issues. poetic language containing more ornament, more images, more condensed
18

The tragedians had available to them all the resources of inherited syntactical structures and more compressed thought patterns. They are
myth which they incorporated into their own experience as beings within composed in the tradition of the great lyric poets, particularly Pindar
the p o l i s . They also had to work through the contrived shapes of whose somewhat obscure but highly colourful and elaborate style was
language and structure which conventionally belonged to the dramatic genre famous in antiquity and would have been familiar to the dramatists'
of tragedy. As we see them, these contrived shapes are overt and audience.
analysable, and their variety of style and development is largely responsible It is hard to communicate in a few words just what the lyric metres
for the rich and complex experience which comes from watching this achieve in Greek Drama. And indeed we do not always know. But one
drama. Through them the dramatic action is assimilable: through them the can say that they characterise and control pace, mood, and tone. They
reactions of those watching and listening are orchestrated. In other words act as a kind of register of emotion. Certain metres, like the dochmiac,
they filter through their disciplined structures the inherent turbulence of the for instance, are associated with high points of excitement, others like the
basic material, thus controlling by form and pace the responses of the ionic rhythms have cult associations, others, like the dactylic, convey a
audience. strong sense of insistent and forward movement, or may recall the
First the verse form. Greek Tragedy was written in verse in an hexameter beat of epic. Frequently it is the subtle blend and changing of
elevated and traditional poetic language. Most translations, even the verse rhythms which create special effects as for instance when the opening
ones, are misleading in that they do not record the variety of verse forms ionics of the Bacchae p a r o d o s , evoking religious and cult associations, turn
employed in the different sections of the plays. Spoken dialogue was in eventually through choriambs and glyconics to excited dactyls as the pace
19
iambic trimeter. The sung portions, choral odes and solo arias, and some gathers momentum and the women sing of rushing off to the mountains,

8 9
or when the primarily iambic first s t a s i m o n of the Trojan Women is given
an epic flavour at the beginning by its opening dactyls. views presented in the play. Eurpidides, the most renowned composer of
21

The lyric metres, more emotional than iambic trimeters, are often monodies, gives his singers just such passionate commitment and bias.
used in contrast with the trimeter in mixed dialogues where one actor sings Examples are Ion's adoration of Apollo, Creousa's blasphemy against the
in lyrics and another replies in spoken utterance or where an actor will same god, Hecuba's aching despair, Cassandra's delirious wedding song, or
22

speak his lines and the chorus reply in sung lyrics. In this way the Electra's passionate grief. The monody has a lyric non—logical structure
2 3

different emotional levels are offset as for instance at A l c 244, where with images, personal apostrophes, laments and prayers predominating.
f

Alcestis, in a semi-delirious trance, as she has a vision of approaching Among the spoken parts of the play are certain set pieces, easily
death, is given lyrics, and the uncomprehending Admetus speaks in iambics. recognisable in formal terms, such as the messenger speech, agon (debate),
r h e s i s (single set speech) and s t i c h o m y t h i a (line dialogue). In Euripides
The chorus are always at the heart of the play. Singing and dancing these are much more obviously marked off than in Sophocles and
to music, they have a function which is both a part of, and yet slightly Aeschylus so that they sometimes seem almost crystallised and isolable in
separated from, the main action. Placed in the orchestra, the circular themselves rather than merging into one another or growing naturally.
dancing space, the chorus are physically distanced from the actors and like Euripides no doubt had his own reasons for this and indeed often the
the messenger they are usually, though not always, outsiders who look at sharp contrast between modes creates a dramatic excitement of a peculiarly
the happenings from a slightly different point of view from the 24
impelling k i n d .
20
protagonists. They are ordinary citizens, the protagonists are not. The The messenger speech, much beloved by Euripides, is one such
1
chorus task is to change the gear of the action, interrupting its forward spoken device. 25
It is a set narrative speech in iambics, reporting offstage
flow and examining it in new perspectives. Their look at events allows action to the actors on the stage and to the audience. Perhaps here the
time for reflection and judgement, leisure to consider motivation and causal role of the imagination for the audience is at its height. A whole scene
explanations. They may as so often in Aeschylus — e.g. in the parodos is set for the spectator with exact detail sketched in so that visual and
of the Agamemnon (40 ff.) - bring to light a whole realm of background auditory images etch themselves sharply on the mind. Gone are the
material which sets into relief the immediate events, or they may as in the personal apostrophes, images, laments and prayers of the lyric style. Here,
ode on Man in the A n t i g o n e (332 ff.), cast specific actions in a more instead, is ordered narrative in strict chronological sequence, full of verbs
universal context. Their role is that of an interested commentator who is of action and graphic physical detail. Unlike the monodist, the messenger
able not only to reflect, but to look a r o u n d as well as directly at an is an outsider, a third person objective witness who records events in an
action, providing a sort of philosophical pause in highly poetic form. But unbiassed way and in such a manner that the audience can make their
sometimes, as in the B a c c h a e , for instance, they are strongly involved in own judgements.
the action as participants, and here their songs actually enact the religious It would be a mistake to think of the messenger's report as a poor
rituals which are at the heart of the play's experience. Here there is no substitute which fails to make up for what cannot be shown on the stage.
detachment, only devotion to the god. The choral function is complex On the contrary it is superior to spectacle. The Greeks delighted in
and multiple, and varies from context to context, particularly in Euripides. narrative ever since the performances of the epic rhapsodes were formally
The varied lyric metres show a fine register of different emotions and instituted by Peisistratus, and long before that no doubt, and such extended
indicate tone and mood. Frequently they change as an ode proceeds. reports will have given special pleasures in themselves. As Aristotle saw,
Lyric is however not restricted to the chorus, and the solo aria is there were disadvantages to mere horror spectacles even had it been
often a t o u r de f o r c e in the play and associated with high emotion feasible to stage them. 26
For they produce confusion and shock — so
expressed through the lyric metres in which it is cast. This actor's song that their impact would preclude proper assimilation of the events. What
in lyric is called a monody. Not all plays have one but some, as for the messenger does is to control and stage the experience so that it is
instance the I o n , Trojan Women and P h o e n i c i a n Woment of Euripides, assimilable to the spectator bit by bit in an ordered way.
have two or more. The monodies of Greek tragedy formed high points of Euripides' messenger speeches with their quiet pictorial beginnings,
sympathetic identification with hero or heroine — more usually the latter their slow build-ups, their fragments of recorded conversation, and their
since only a very few male characters are given one to sing in all of graphic descriptions of the climactic acts of horror in visual terms, are
extant Greek tragedy. Here the author sought to move his audience with masterpieces of the art of narrative. The two in the Bacchae for instance
stirring music and words that excited pity. The monody is often designed not only tell the audience what has happened, but make imaginable
to present a subjective and partial point of view which reflects the strong through pictures the whole Bacchic experience. Here the narrative is
preoccupations of the singer, but which may be at variance with other indispensable, for it is inconceivable that the audience would ever be able

10 11
to view directly the mass attack of the women upon the cattle or upon makes strong appeal also to the emotions. 29
There is a delicate balance
Pentheus. It would be utterly beyond stage resources. But if by any between direct apostrophe, a simple expression of raw feeling, and
chance they were allowed to view it, it is unlikely that they would emerge reasoned alternatives which are worked out logically. But the dramatist
with as clear and as objective a picture as the messenger is able to give. brilliantly gives the impression that the logic is forced out desperately by a
Narrative enables greater total understanding than mere spectacle, and can person fighting for control in a situation where the emotions threaten to
condense more into a short space of time. In that it is one degree take over. The result is a powerful speech which assaults both our
removed from direct sight, and is delivered by an imperial witness, it emotional and our thinking faculties, made no less effective by the violent
practises a kind of d i s t a n c i n g which reduces the crude horror of the tragic swings of stance which Medea takes as she is torn between the immediate
action and requires balanced judgement as well as an emotional response. sight of her children before her, and the more long—term thought of her
Many tragedies contain a set debate or 'agon* where one character future life as it must follow from present circumstances.
presents a case in formal terms, and another, as adversary, responds point S t i c h o m y t h i a is a special kind of formal dialogue where the characters
for point in a counter speech. Euripides, particularly, formalised such speak in single line exchanges. It is not the only kind of dialogue or
debates, so that they often resembled law-court speeches, and they are even the commonest in tragedy but I single it out here because of its
27
indeed sometimes cast in formal rhetorical terms. Examples are Medea's regular and easily identifiable form. Such a tight and formal framework
great debate with Jason, or Hecuba's with Helen in the Trojan Women. permits speed, concentrated and pointed utterance within its compass. 30
It
In these, logical and orderly exposition is more important than naturalism. is particularly suited to scenes of interrogation such as we see in the
It is never possible entirely to separate feelings from reasoned thought — Bacchae where it communicates with its economy and rapid pace the
nor should it be. But the modes of tragedy assault both, in differing extreme tension and changing shifts between the god Dionysus and
degrees, by different routes. The solo aria is a direct appeal to the Pentheus the K i n g . 31

feelings through emotive sound and image, through words of personal All these items, monody, choral ode, messenger speech, set debate,
address and reaction. The messenger speech appeals to the audience's r h e s i s and s t i c h o m y t h i a make up the 'formal' elements of Greek Tragedy.
consciousness through an ordered evocation of the senses so that one Now 'formal' sometimes conjures up an image of fossilisation and aridity,
perceives and hears a chronological sequence of events in the mind's eye but this is far from the case. On the contrary, the variety of metre,
and ear. The a g o n , on the other hand, captures the audience's hearts and language, dialect and mode within the compass of one tragedy, and the
minds by persuasion through reasoned argument. Although the result may alternation of song and speech, and of lyric and dialogue, made Greek
involve the emotions, the method is more intellectual than in either the Tragedy a rich experience offering a range seldom even dreamt of today.
aria or the messenger speech. Thus the agon in the Trojan Women with Each mode approaches the same dramatic action in a new way, with its
its sharp development of points of debate gives an academic edge to an own perspective and its own style, so that the audience is constantly
action which is otherwise predominantly lyric in mood. exposed to shifts of perception, and the contrasts such shifts imply.
The r h e s i s is a set speech of an actor which works by persuasive and Moreover each mode would have had its own associations — lyric arousing
ordered logic and which may none the less often make strong appeal to echoes of the great lyric tradition in Greece, narrative, reminiscent of epic,
the emotions. It is the commonest of all dramatic forms and one of the catering for the pleasure in story—telling the Greeks always had. And
most varied, and overlaps with other parts. It may, for example, form each mode carried with it its own responses which contrasted with others.
pan of a debate scene, it may convey extended dialogue or it may stand Thus the great debates provided intellectual stimulus and were set off
on its own in monologue. Its tenor may be argumentative, reflective, against the more emotional colouring of choral odes and arias. All were
pathetic, informative or questioning. Many set speeches take the form of combined within the one dramatic action.
a monologue where the speaker examines his or her motives and actions in With great range of form went an economy and concentration lacking
28
an intense process of self-examination. Such are Medea's speech to in much modern drama. The action was usually confined to twenty—four
the women of Corinth at Med. 214 ff. or her monologue at 1021 ff., hours in one place, and was so arranged that all the parts could be taken
Phaedra's speech at H i p p . 373 ff. or 616 ff., Hecuba's speech at H e c . by three actors. Scenery was sparse, subtle gestures and expressions were
585 ff. precluded by masks, heavy costumes and the sheer size of the theatre.
Often it is hard to separate the emotional element from the thought But these things in themselves explain why the burden must be on the
element when the poet gets the balance right. For instance Medea's language (speech and song) and why the words were so important. In
speech at M e d . 1021 ff., where she debates whether she can bring herself them were all the things which today are done by elaborate costume,
to kill her own children, has a tight logical structure, but through this make—up, close—up photography, lighting, scenery, stage directions, and all

12 13
the rest. To the Greeks the expressed utterance was all - or almost fact of a most subversive kind.
3
all. * This is quite a catalogue of blemishes. How misleading is it?
So it was that the very great range of form in Greek Tragedy evinced Aristophanes is concerned of course mainly with raising a laugh — and for
in the different modes of speech and sung lyric, was matched by an equal this, gross exaggeration is necessary. None the less much of his criticism
range of expressions of complex human emotion, action, and thought made is apt, if in a superficial way.
to fit those forms and channelled into patterns of plot, setting and action Euripides does introduce women characters who are criminal in their
of extreme economy. It was this rich content within a controlling actions, like Medea who kills her children and two others, or like Phaedra
structure which involved too a creative harmonising of past and present who falsely incriminates her stepson thus indirectly causing his death. But
attitudes through use of myth, as I outlined at the beginning, which gave, Aeschylus had portrayed Clytemnestra — surely a woman of towering
and still does give, Greek tragedy its forceful, concentrated impact. criminality. Why the fuss now? Perhaps because Euripides led the
audience to see the action from these characters' points of view, whereas
Aeschylus hardly encourages us to sympathise with Clytemnestra. Euripides
IIL Euripides was able to show what it f e l t like to have to kill your children or your
mother; to be consumed by devouring jealousy or a desire for revenge; to
Euripides was the youngest of the three great Athenian tragedians fight an overmastering love and struggle with the consequences of
38
(c.484-406 B.C.) although Sophocles, his slightly older contemporary, madness. And in so doing, unlike Sophocles, who on the whole
outlived him by a few months. In his lifetime he was not as popular with portrayed characters who retained their wholeness and integrity throughout
the Athenian public as the others, winning fewer prizes (four first prizes their tragedies, he explored weakness not strength, and exposed those
out of twenty two occasions) and ending his life in voluntary exile away elements in character which revealed disintegration and the split p e r s o n a .
from Athens at the court of Archelaus of Macedon. 33
More of his work Electra, Orestes, Pentheus, Phaedra, Admetus and even Medea or the great
has survived than the meagre seven plays each we have of Aeschylus and Heracles all reveal in some degree traits which characterise such
39
Sophocles. Nineteen plays entire have come down to us under his name, disintegration and a nature divided against itself.
including the satyr play Cyclops, the A l c e s t i s , a substitute for a satyr play, To say that in so presenting his characters Euripides was debunking
and the probably spurious Rhesus. Perhaps because of the wider sample the heroic is only part of the truth. Undeniably in a play like the
known to us, part of which has been preserved by accident and not by E l e c t r a all the old heroic assumptions and settings are undermined or
34
deliberate selection, his work seems uneven and diverse in range. There changed. Electra and Orestes are no longer the single—minded champions
are the great tragedies of a very high order such as the Medea, of justice. Clytemnestra and Aegisthus are no longer the uncompromising
H i p p c l y t u s , Trojan Women and B a c c h a e . But there are also plays where villains they were in Aeschylus. The murders are no longer performed in
tragic themes mix with lighter elements and the ending is happy, such as such a way that they can be seen as heroic actions. Even the setting has
the A l c e s t i s , I o n , Iphigenia i n Tauris, Helen. Attempts to categorise changed from grand palace to impoverished hovel.
9
Euripides style and plot by chronological criteria, thematic groupings, or And in other plays too such as Iphigenia i n A u l i s , great leaders of
structural elements, have largely failed, since there always seem to be the heroic tradition like Agamemnon and Menelaus appear in particularly
3 5
exceptions which prevent such categories being watertight. Euripides is despicable lights, shifting their ground, arguing for expediency and
the most elusive of dramatists and the most resistant to fixed labels. promoting personal ambition at the expense of principles.
Not that his contemporaries hesitated to fix labels upon him. The Yet it would be a mistake to say that Euripides had no concept of
comic poet Aristophanes was one such, a sharp critic who parodied him what it meant to be heroic if we think of this word not in its narrow
for his choice of subject matter, characters, plots, opinions and style. 36
archaic sense of military and physical valour, but in more general terras.
Aristophanes saw him as ultra—trendy, undermining traditional religious and It is that often he redefines traditional heroic qualities or else transfers
moral beliefs in a dangerous way and introducing outrageous musical them to w o m e n , placed in different situations from male heroes. Medea
innovations. He saw Euripides* characters, particularly his women for instance, although a woman, shows many of the great heroic qualities
characters, as unprincipled and shameless, too clever for their own or of say an Ajax or an Achilles: bravery, desire to preserve her own
anybody else's good. He thought that Euripides elevated the ordinary to honour, refusal to be laughed at by her enemies, the decisive nature to act
40
an absurd degree, making the trivial seem important, and low characters in revenge. What makes her interesting is the combination of these
appear too significant. He therefore saw him as destroying the old heroic traditional qualities with her rdle as a woman and mother.
37
values and introducing instead ambiguous moral standards. A rebel in In the Trojan Women, Hecuba the old queen of Troy is heroic in her

14 15
endurance ot tne sufferings inflicted on her by the Greeks, and in her to recognise since he is usually much too good a dramatist to intrude his
fight to preserve her family. And when Euripides in the first stasimon own p e r s o n a . His characters display many different beliefs as their role
makes the chorus ••Sing, Muse, of Ilium, a lament consisting of new and the occasion demands. It is true however that attack on the gods is
41
songs" he is redefining the old epic notions of glorious war and a persistent and recurring theme from major characters. Repeatedly his
transferring them to a setting where it is the victims who are seen as the leading characters — Hecuba, Iphigeneia, Amphitryon, Heracles, Ion,
true heroes - a point Cassandra also makes in her speech at T r o . 365 ff. Creousa, Electra, Orestes — express their despair at a Universe negligently
Several women characters voluntarily surrender their lives for a noble managed by divine beings. 45
But his despair springs not from a
cause — such as Iphigeneia in I p h i g e n i a i n A u l i s , the p a r t h e n o s in the reluctance to believe at all on their part, but from an outrage that gods,
H e r a c l e i d a e , or Evadne in the S u p p l i a n t s , not to mention Alcestis who as they are commonly understood, can be so amoral and utterly uncaring
dies to save her husband. These are all examples of heroism, though not of human well-being. It is the disillusion of the perfectionist that
in the traditional masculine mould. Euripides so often portrays. As Heracles is made to say, 46

In the Heracles where the protagonist is male, Euripides contrasts the but I do not believe the gods commit
old traditional and active heroism of Heracles in performing the labours, adultery, or bind each other in chains.
with the more passive qualities of endurance he must display in facing up I never did believe it; I never shall;
to the terrible consequences of his subsequent madness. He rejects the nor that one god is tyrant of the rest.
traditional hero's solution to disgrace, namely suicide — the way Ajax had If god is truly god, he is perfect,
taken — and decides to live on in the company of his humiliation and lacking nothing. These are poets' wretched lies.
42
misery. A new heroism perhaps for a newer age. Such sentiments come not from the frivolity of his characters, but from
Aristophanes, through the mouthpieces of Aeschylus and Dionysus in their taking the Universe too seriously. If there is a fault it is the latter
the F r o g s , regretted the passing of the old standards and saw nothing but not the former, that should be laid against Euripides' door. And no one
n
demeaning and undignified negativism in their place. " O i k e i a p r a g m a t a , who has heard or read the Bacchae could possibly accuse its creator of
"ordinary things", to him were not worthy of tragedy. But Euripides' either agnosticism or superficiality. There are depths in it still being
celebration of the ordinary, if so it may be called, is often a positive and explored today.
important part of the way he saw events and actions. The very characteristics in Euripides' work which disturbed
43
It is not only in settings and small actions we see it at work, but Aristophanes and his contemporaries — his moral ambiguity, his scepticism,
also in characters. Again and again relatively humble characters play a his anti—heroic stance and his common touch — are what appeal to the
significant role in a play's events. The former husband of Electra is modern reader for they seem more in keeping with our own age. In the
arguably the only sane person in the E l e c t r a . The old servant in the twentieth century we have been preoccupied with doubt and disintegration,
H i p p c l y t u s has the wisdom Hippolytus lacks. The two messengers in the demythologising and rationalising, and this is what Euripides epitomises.
Bacchae grasp the truth of the Dionysiac phenomenon with an instinctive We can admire the sheer brilliance with which he manipulates the myths
44
sense denied to all the other characters in the p l a y . They in fact carry in a way which both uses and exposes their assumptions. While keeping
the message of the play — that it is dangerous to deny such instinctive the traditional stories as a frame, he yet undercuts them by rationalising
wisdom and to mock at belief. Aristophanes was therefore right when he many of the attitudes which have previously underpinned them. Notions of
said that Euripides introduced the ordinary into tragedy. He did. The the very gods he uses come under attack: old conceptions about pollution
ordinary person is listened to and often proved right. And if this is and guilt are questioned; traditional criteria for judging character are
regarded as an overturning of values, it is a positive and significant one, scrutinised and found wanting. And in this problematic climate his
and should not be dismissed as mere rabble rousing. characters like Electra, Orestes, Medea, Phaedra or Pentheus, pick their
What Aristophanes saw as frivolity and irresponsibility in Euripides in way, on the verge of collapse under the strain, as their rational grip loses
fact sprang from a deep care for the world and a wish to protest at its the battle with the forces of disintegration.
wrongs. This is what his characters show. It was not to abandon a But the drama he created did not always offer purely negative
portrayal of the heroic but to redefine it. And all the charges of perspectives. Again and again positive human values are seen to triumph
agnosticism or heresy which the comic poet loved to heap upon Euripides' over divine neglect or apathy — the friendship of Amphitryon and
shoulders are likewise superficially true, but in a deeper sense misleading. Theseus, the supporting love of Hecuba for her family and her courage,
Aristophanes was wrong to see Euripides' own views in every the integrity of Ion, the compassion of Cadmus and Agave, the selfless
character who railed against the gods. Indeed his own views are difficult sacrifice of Iphigeneia, Alcestis, the p a r t h e n o s in the H e r a c l e i d a e , and the

16 17
cheerful sanity of ordinary people like messengers, or servants.
In the importance he attached to supporting roles and to the close
interaction between his characters, Euripides prefers not to focus upon one
dominating protagonist. The whole social context is what matters, and Notes to General Introduction
environment and social factors play a much larger part in determining the
main character's r61e and the course of the action than they do in 1. Aristotle, P o e t i c s , ch. XIV, 1453 b, 19-22.
4 7
Sophocles (with the exception perhaps of the P h i l o c t e t e s ) . 2. Vernant & Vidal-Naquet, 10; 4.
In short Euripides was adventurous - adventurous above all in his 3. Cited i b . 9.
9

treatment of myth. And adventurousness here meant an entirely new 4. Athenaeus, 347e.
perspective on plot, character, moral and religious values, and social 5. Homer, //. 23. 708, 842; 3. 229; 7. 211; 17. 174, 360; O d . 11. 556;
factors. But he was adventurous too in treatment of form and structure. I I . 3. 229; 6. 5; 7. 211.
He experimented with music and lyrics, with metrical forms and with the 6. I I . 11. 5 - 9 .
breaking up of dialogue. He increased the role of the solo aria and 7. O d . 11. 543 ff.
messenger speech and he sometimes changed the traditional function of the 8. See especially Soph. A j . 121 ff. where Odysseus rejects the traditional
chorus. He introduced more colloquialism into the dialogue and more Greek view of the lightness of hating one's enemies and 1067 ff.
elaboration than Sophocles into the late lyrics, thus increasing contrasts where Menelaus complains of the problems an individual such as Ajax
between the modes. poses for the army as a whole and its discipline.
What is clear is that he reshaped tragedy in a radical way so that it 9. Pindar, Nem. 1. 33 ff.
could never be quite the same again. He went as far as he could in 10. P y t h . 9. 87 ff., transl. by R. Lattimore.
giving it a new image without abandoning its basic conventions. And there 11. I s t h . 4. 56 ff. O l . 2. 3 ff.
is common agreement that his work is, at its best, of the first rank. 12. H . F . 348 ff.
Of course there are faults and unevennesses in the plays: echoes from 13. Unless the use of t o n s t r a t e g o n 'the commander' A n t . 8, and a n d r o n
the soap—box occasionally, irrelevant rhetorical excrescences sometimes, p r o t o n 'first of men' O.T. 33 are veiled references to Pericles who
self—indulgence in over-elaborate ornamentation of some of the later was s t r a t i g o s 'general', and whose influence was very much that of
lyrics, too blatant melodrama perhaps in certain plays, loose plot first citizen. See Thuc. 11.65.10; V . Ehrenberg, Sophocles a n d
48
construction in others. But informing all is an understanding of a very P e r i c l e s (Oxford 1954) 105 ff.
powerful sort, a mind which for all its critical sharpness, also knew the 14. O.T. 168 ff.
human heart and dissected it not only with uncanny perception but also 15. In fact Aristophanes set great store by what he saw as the role of
with compassion. It was Aristotle who called Euripides t r a g i k o t a t o s t o n tragedy to preserve traditional heroic features and criticised Euripides
49
poet o n , "the most emotionally moving of the poets", a paradox one strongly for debasing such features. See next section.
might think for one who was also the most intellectual or dramatists, but a 16. For a recent analysis of ritual elements in Greek Drama see F.R.
paradox that for him somehow makes sense. Adrados, F e s t i v a l , Comedy and Tragedy (Leiden, 1975), chs. Π, VII,
vra, XI.
Shirley A . Barlow 17. Collard (1981) 20 -23, 25 -27.
18. I b . 26 -27.
19. B a . 64 ff. and Dodds' analysis, Bacchae (1960) 72-74.
20. Not in the technical sense of course since women were not full
citizens but in the sense of people concerned at issues in the
community.
21. On the function of the monody see Barlow, ch. IE, 43 ff.
22. Jon 82 ff., 859 ff.; T r o . 308 ff., 98 ff.; E l . 112 ff.
23. e.g. H i p p . 817 ff.; I o n 82 ff., 859 ff.; T r o . 98 ff. See also Barlow,
45 ff.
24. See for instance the contrasts in Trojan Women between the prologue
and Hecuba's monody, between Cassandra's monody and her iambic

18 19
 r h e s i s , between the great debate and the subsequent choral ode, acute remorse for letting Alcestis give her life for him ( A l e . 861 ff.
between the iambic dialogue at 1260 ff. and the lyric kommos which and 935 ff.). Heracles is on the brink of total disintegration ( H . F .
ends the play. 1146 ff.).
25. On the messenger speech see Barlow 61 ff. 40 B.M.W. Knox, 'The Medea of Euripides', YCS 25 (1977), 193-225,
26. Aristotle, P o e t i c s , ch. ΧΙΠ, 1453 b, 8-10. esp. 198-9.
27. On the agon see C. Collard, G & R 22 (1975), 58-71; J . 9 41. T r o . 511 ff. See my note on this passage.
Duchemin, L ' A g o n dans la t r a g i d i e g r e c q u e (Paris, 1945). 42. See esp. H.H.O. Chalk, 'Arete and Bia in Euripides' H e r a k l e s , JHS 9

28. Collard (1981) 21-22. 82 (1962), 7 ff.

29. I am assuming here that 1056-80 are genuine as it seems to me they 43. Settings such as the farmer's cottage in the E l e c t r a or the drab tents
must be (pace Diggle, Tomus I (1984) of his Oxford Classical Text). of the Greek encampment in the Trojan Women. Often ordinary
30. Collard (1981) 22. actions are described such as when the chorus and companions are
31. B a . 463 -508, 647 -655, 802 -841. N.B. the change to nvo-line doing the washing ( H i p p . 121 ff., H e l . 179 ff.) or Ion is sweeping
dialogue, i.e. d i s t y c h o m y t h i a , at 923 -962. out the temple with a broom (Ion 112 ff.) or Hypsipyle sweeping the
32. But for the role of the non-verbal in theatrical performance see step (Hyps. fr. 1. i i Bond), or the chorus describe themselves getting
Taplin (1978) p a s s i m . ready for bed (Hec. 914 ff.).
33. See the chart of chronology and award of prizes in Collard (1981) 2. 44. B a . 769 ff., 1150 ff.
34. Collard (1981) 3; Barrett, Hippolytos (1964) 50 ff. 45. Trojan Women 469 ff., 1240 ff., 1280 ff. I . T . 384 ff. H . F . 339 ff.,
35. Collard (1981) 5. 1340 ff. I o n 435 ff., 1546 ff., 911 ff. E l . 979, 981, 1190, 1246.
36. Criticisms of Euripides occur extensively in F r o g s , T h e s m o p h o r i a z u s a e , 46. 1341-1346 transl. by W. Arrowsmith, cf. I . T . 384 ff.
substantially in A c h a m i a n s and in scattered references throughout 47. See n. 43.
Aristophanes' other works. See G.M.A. Grube, The G r e e k and 48. These points are covered by Collard (1981) e.g. rhetorical excrescences
Roman C r i t i c s (London, 1965) 22-32; P. Rau, P a r a t r a g o d i a 25—26, over—ornamentation of lyrics 26—27, melodrama to be seen
(Miinchen, 1967); K . J . Dover, A r i s t o p h a n i c Comedy (London, 1972) in last minute rescues or recognitions 6. Many plays have been
183-189. criticised for their plot construction in the past; see my article on
37. Religious beliefs: Frogs 888 ff. Immorality: Frogs 771 ff., 1079 ff., H . F . in G & R 29(1982), 115 -25, although, as I have pointed out,
Thesm. 389 ff. Musical innovations: Frogs 1298 ff., 1331 ff. opinions on this subject are now changing.
Women characters: Frogs 1049 ff., Thesm. 389 ff. Cleverness: Frogs 49. Aristotle, P o e t i c s , ch. ΧΙΠ, 1453a, 28 -30.
775 ff., 956 ff., 1069 ff. Stress on the ordinary or sordid, the
antiheroic: Frogs 959 ff., 1013 ff., 1064, A c h . 410 ff.
38. A point made by Vickers 563 —4 and 566 (apropos of the E l e c t r a ) .
See Medea's agonised speech at 1021 ff., Electra's remorse at 1183
ff., Hermione's vindictive jealousy expressed in the scene at A n d . 147
ff., Hecuba's gloating revenge over Polymestor H e c . 1049 ff. and her
justification before Agamemnon 1233 ff., Phaedra's struggle with her
love at H i p p . 373 ff. particularly 380-381 and 393 ff., Heracles'
struggle to face the consequences of his madness from H . F . 1089 to
the end.
39. Electra and Orestes in the E l e c t r a both suffer remorse for their
murder of their mother. Orestes in the Orestes is reduced to
madness through guilt and tormented by conscience (sunesis).
Pentheus is destroyed by the very thing he professes to despise,
ending his life as voluntary spectator at a Bacchic revel from which
he had previously dissociated himself. Phaedra knows how she should
be but cannot achieve it. Her love overrides her better judgement as
does Medea's hate ( H i p p . 380-381, M e d . 1078-9). Admetus suffers

20 21
 1969); R. Seaford, Cyclops (Oxford, 1984); U. von
2
Wilamowitz-Moellendorff, H e r a k l e s (Berlin, 1895 ; reprinted Bad
Homburg 1959); C.W. Willink, Orestes (Oxford, 1986).
GENERAL BIBLIOGRAPHY Commentaries on the other tragedians important for reference are: E .
Fraenkel, Aeschylus: Agamemnon (Oxford, 1950); R.C. Jebb, Sophocles
(This Bibliography has been compiled by the General Editor, and 1 3
(7 vols., Cambridge, 1883 -1903 ); A . C . Pearson, The F r a g m e n t s of
concentrates on works in English; a supplementary Bibliography for A l c e s t i s Sophocles (3 vols., Cambridge, 1917).
follows, compiled by the editor of this volume).
ΙΠ: complete English translations
I: complete critical editions D. Grene, R. Lattimore (eds.), The Complete Greek T r a g e d i e s : Euripides
The standard edition is by J . Diggle in the Oxford Classical Texts: (2 vols., Chicago, 1958 -9).
Tomus I (1984) C y c l o p s , A l c e s t i s , M e d e a , H e r a c l i d a e , Hippdytus, P. Vellacott, E u r i p i d e s (4 vols., Harmondsworth, 1953 -72) ("Penguin
A n d r o m a c k a , H e c u b a ; Tomus Π (1981) S u p p l i c e s , E l e c t r a , H e r c u l e s , Classics').
T r o a d e s , I p h i g e n i a i n T a u r i s , I o n ; until Tomus m is published, its
2
predecessor, by G . Murray (1913 ), will remain standard for H e l e n a , IV: lexicography
Phoenissae, Orestes, B a c c h a e , Iphigenia A u l i d e n s i s , Rhesus. J.T. Allen, G . Italie, A Concordance t o E u r i p i d e s , Berkeley/London 1954,
The edition of R. Prinz and N . Wecklein (Leipzig, 1878-1902) is still reprinted Groningen 1970; Supplement by C. Collard, Groningen 1971.
useful for its apparatus and appendices. The 'Collection Bud6' edition, by
L. M6ridier and others (Paris, 1923 onwards), still lacks Rhesus; it has V: bibliographical aids
French translation, introductory essays and some notes. The 'Bibliotheca L ' A n n e e P h i l o l o g i q u e has recorded publications since 1924. A n z e i g e r f u r
Teubneriana' issues plays singly, each with bibliography and some with d i e A l t e r t u m s w i s s e n s c h a f t has published occasional evaluative surveys
brief critical notes, by different editors (Leipzig, 1964 onwards). since 1948.
Fragments: when it is published, Volume V of T r a g i c o r u m G r a e c o r u m From Section VI below, see Burian, C a m b r i d g e H i s t o r y of G r e e k
F r a g m e n t a , E u r i p i d e s , ed. R. Kannicht, will at last unite in one book the L i t e r a t u r e , I , Collard (evaluative), Lesky (1983; bibliography only till
many long—known and frequently re—edited fragments with modern finds. 1971) and Webster (esp. lost plays).
For the present, see Hypsipyle, ed. G.W. Bond (Oxford, 1963); P h a e t h o n ,
ed. J . Diggle (Cambridge, 1970); A . Nauck, T r a g i c o r u m G r a e c o r u m VI: general studies and handbooks (Greek Tragedy; Euripides)
2
F r a g m e n t a (Leipzig, 1889 , reprinted Hildesheim, 1964 with Supplementum A Brown, A New C o m p a n i o n t o Greek Tragedy (London, 1983) (a
by B. Snell); D . L . Page, G r e e k L i t e r a r y Papyri ('Loeb', London, 1942); 'dictionary').
C. Austin, N e v a Fragmenta E u r i p i d e a i n P a p y r i s R e p e r t a (Berlin, 1967). P. Burian (ed.), New D i r e c t i o n s i n E u r i p i dean C r i t i c i s m (Durham, U.S.A.,
History of the text: W.S. Barrett, E u r i p i d e s : Hippolytos (Oxford, 1985).
1964) 45 -90; G . Zuntz, A n I n q u i r y i n t o t h e T r a n s m i s s i o n of t h e Plays 9
A.P. Burnett, C a t a s t r o p h e S u r v i v e d : E u r i p i d e s p l a y s of m i x e d reversal
of E u r i p i d e s (Cambridge, 1965) esp. 249-88; J . Diggle, P r a e f a t i o to his (Oxford, 1971).
O C T Tomus I, v-xiv. C a m b r i d g e H i s t o r y of Classical L i t e r a t u r e , Volume I : G r e e k L i t e r a t u r e ed.
P.E. Easterling, B.M.W. Knox, (Cambridge, 1985), 258-345, 758 - 7 3
Π: complete commentaries (chapters by leading scholars).
1 2
F.A. Paley (London, 1857 - 1889 ) (commonsensical and still useful). C. Collard, E u r i p i d e s , 'Greece and Rome' New Surveys in the Classics No.
E. Schwartz, S c h o l i a i n E u r i p i d e m (Berlin, 1887-91) (nine plays only; a 14 (Oxford, 1981) (brief survey with bibliographical emphasis).
more widely based edition of the ancient and medieval scholia is D. J. Conacher, E u r i p i d e a n D r a m a : M y t h , Theme and S t r u c t u r e (Toronto,
needed). 1967) (best general introduction of its kind).
'Reference' commentaries on single plays are: W.S. Barrett, Hippolytos A . M . Dale, Collected Papers (Cambridge, 1969) (on many aspects of
(Oxford, 1964); G.W. Bond, Heracles (Oxford, 1981); C. Collard, drama).
Supplices (Groningen, 1975); J.D. Denniston, E l e c t r a (Oxford, 1939); K.J. Dover (ed.), A n c i e n t Greek L i t e r a t u r e (Oxford, 1980), 53-73 (Ch. 4,
J. Diggle, Studies o n t h e Text of E u r i p i d e s (Oxford, 1981); E.R. •Tragedy', by K . J . Dover).
Dodds, Bacchae (Oxford, 1960); R. Kannicht, Helena (Heidelberg, G.F. Else, A r i s t o t l e ' s P o e t i c s : t h e A r g u m e n t (Harvard, 1957).

22 23
H.Erbse, S t u d i e n zum Prolog der e u r i p i d e i s c h e n T r a g o d i e (Berlin 1984): T.B.L. Webster, The T r a g e d i e s of E u r i p i d e s (London, 1967) (a profile of
analyses complete plays. the dramatic and poetic career as it developed).
E n t r e t i e n s sur I ' A n t i q u i t i C l a s s i q u e , V I : E u r i p i d e (Vandoeuvres-Genfcve, Y a l e Classical Studies 25 (1977): G r e e k Tragedy (papers invited from
1960) (seven papers, and transcribed discussion, by leading scholars). prominent scholars).
H.P.Foley R i t u a l I r o n y . P o e t r y and S a c r i f i c e i n E u r i p i d e s (Cornell 1985)
S. Goldhill, R e a d i n g G r e e k Tragedy (Cambridge, 1986).
L.H.G. Greenwood, Aspects of E u r i p i dean D r a m a (Cambridge, 1953). VII: Euripides and contemporary events and ideas
2
G. M . Grube, The D r a m a of E u r i p i d e s (London, 1961 ) (handbook). R.G. Buxton, P e r s u a s i o n i n G r e e k Tragedy: a Study of Peitho 9 e

S. HalliweD, A r i s t o t l e ' s P o e t i c s (London, 1986). (Cambridge, 1982).

M . Heath, The P o e t i c s of G r e e k Tragedy (London, 1986). K. Reinhardt, T r a d i t i o n u n d G e i s t (Gottingen, 1960) 223 - 5 6 ('Die
J . Jones, O n A r i s t o t l e and G r e e k Tragedy (London, 1962). Sinneskrise bei Euripides': classic discussion of Euripides'
3
H . D.F. Kitto, G r e e k Tragedy: a L i t e r a r y Study (London, 1961 ). intellectualism and its reflection in his dramaturgy).
B.M.W. Knox, Word and A c t i o n (Baltimore, 1979) (collected papers on P.T. Stevens, 'Euripides and the Athenians', JHS 76 (1976), 76-84
drama). (contemporary reception).
W. Kranz, Stasimon (Berlin, 1933) (fundamental work on the Chorus). R.P. Winnington- Ingram, 'Euripides: Poietes Sophos', A r e t h u s a 2(1969),
R. Lattimore, The Poetry of G r e e k Tragedy (Oxford, 1958). 127—42 (need for balanced interpretation of Euripides' cleverness).
— Story P a t t e r n s i n G r e e k Tragedy (London, 1964). G. Zuntz, The P o l i t i c a l P l a y s of E u r i p i d e s (Manchester, 1963 ). 2

A. Lesky, G r e e k T r a g e d y , trans. H . Frankfort (London, 1967) (basic Cf. esp. Lesky (1983), Murray, Vellacott, Vernant, Vickers and Walcot
text-book). from Section VI above.
— G r e e k T r a g i c P o e t r y , trans. M . Dillon (New Haven, 1983) (scholar's
handbook). V m : theatre and production
D. W. Lucas, A r i s t o t l e : P o e t i c s (Oxford, 1968) (commentary). P.D. Arnott, I n t r o d u c t i o n t o t h e G r e e k T h e a t r e (London, 1959).
A.N. Michelini, E u r i p i d e s and t h e T r a g i c T r a d i t i o n (Wisconsin, 1987). - Greek Scenic C o n v e n t i o n s i n t h e F i f t h C e n t u r y B . C . (Oxford, 1962).
2
G . Murray, E u r i p i d e s and h i s Age (London, 1946 ) (an 'evergreen'). H. C. Baldry, The G r e e k T r a g i c T h e a t r e (London, 1971).
A.W. Pickard-Cambridge, D i t h y r a m b , Tragedy and Comedy, 2, ed. by M. Bieber, The H i s t o r y of t h e G r e e k and Roman T h e a t r e (Princeton,
T.B.L. Webster (Oxford, 1962). 2
1961 ) (copious illustrations).
9 2
A. Rivier, Essai sur l e t r a g i que d E u r i p i d e (Paris, 1975 ). R.C. Flickinger, The Greek T h e a t e r and i t s D r a m a (Chicago. 1936 ) 4

L. S£chan, Etudes sur la t rage d i e g r e c q u e dans ses rapports avec la A.W. Pickard-Cambridge, The T h e a t r e of D i o n y s u s i n Athens (Oxford,
c e r a n t i q u e (Paris, 1926). 1946).
E . Segal (ed.), Oxford Readings i n Greek Tragedy (Oxford, 1984) - The D r a m a t i c Festivals of Athens, 2. ed. by J . Gould, D . M . Lewis
(important essays by leading scholars reprinted). (Oxford, 1968).
W.B. Stanford, Greek Tragedy and t h e E m o t i o n s (London, 1983). E. Simon, The A n c i e n t T h e a t r e , trans. C.E. Vafopoulo-Richardson
Ο Taplin, The Stagecraft of Aeschylus (Oxford, 1977) (important for all (London, 1982).
Tragedy). T.B.L. Webster, G r e e k T h e a t r e P r o d u c t i o n (London, 1970 ). 2

— G r e e k Tragedy i n A c t i o n (London, 1978) (vigorous introduction). Cf. esp. Dale, Taplin (1978), Trendall and Walcot in Section VI above;
A. D. Trendall, T.B.L. Webster, I l l u s t r a t i o n s of G r e e k D r a m a (London, Bain, Halleran, Hourmouziades, Jens and Mastronarde in Section DC
1971) (vase—paintings and plays). below.
9
P. Vellacott, I r o n i c D r a m a : a Study of E u r i p i d e s Method and Meaning
(Cambridge, 1976) (the plays as veiled social criticism). IX: dramatic form and theatrical technique
J.P. Vernant, P. Vidal-Naquet, Tragedy and Myth i n Ancient Greece, D. Bain, A c t o r s and A u d i e n c e : a study of asides and related conventions
English trans. (Brighton, 1981). i n G r e e k drama (Oxford, 1977).
B. Vickers, Towards Greek Tragedy: D r a m a , M y t h , Society (London, M.R. Halleran, S t a g e c r a f t i n E u r i p i d e s (London, 1985).
1973). N.C. Hourmouziades, P r o d u c t i o n and I m a g i n a t i o n i n E u r i p i d e s (Athens,
P. Walcot, Greek D r a m a i n i t s Theatrical and Social Context (Cardiff, 1965).
1976). W. Jens (ed.), D i e Bauformen der g r i e c h i s c h e n T r a g o d i e (Miinchen, 1971).

24 25
D.J. Mastronarde, C o n t a c t and D i s c o n t i n u i t y : Some C o n v e n t i o n s of Speech
and A c t i o n o n t h e G r e e k T r a g i c Stage (Berkeley, 1979).
W. Schadewaldt, Monolog u n d Sdbstgesprach (Berlin, 1926).
W. Steidle, S t u d i e n zum a n t i k e n D r a m a u n t e r besonderer Beriicksichtigung SELECTED BIBLIOGRAPHY TO A L C E S T I S
des BUhnenspids (Munchen, 1968).
H. Strohm, E u r i p i d e s : I n t e r p r e t a t i o n e n zur d r a m a t i s c h e n F o r m (Munchen, I: Editions and Translations
1957). Arrowsmith, William, E u r i p i d e s , A l c e s t i s . Translation with Notes and
Cf. esp. Burnett, Kranz, Lesky (1983) and Taplin (1977) from Section VI Glossary (New York & London, 1974).
above. Dale, A . M . , E u r i p i d e s , A l c e s t i s , edited with Introduction and Commentary
(Oxford, 1954).
X: language and style Hadley, W. S., E u r i p i d e s , The A l c e s t i s (Cambridge, 1896).
S.A. Barlow, The I m a g e r y of E u r i p i d e s (London, 1971) (widest Hayley, H . W., The A l c e s t i s of E u r i p i d e s , edited with Introduction and
appreciative study). Notes (Boston, 1898).
W. Breitenbach, U n t e r s u c h u n g e n zur S p r a c h e der e u r i p i d e i s c h e n L y r i k Lucas, D. W., The A l c e s t i s of E u r i p i d e s , translated with Introduction and
(Stuttgart, 1934) (Index L o c o r u m by K.H. Lee, Amsterdam, 1979). Notes (London, 1951).
P.T. Stevens, Colloquial Expressions i n E u r i p i d e s (Wiesbaden, 1977). M6ridier, Louis, E u r i p i d e I . (Collection Bud6, Paris, 1923).
Cf. Section IV above; Lattimore (1958), Lesky (1983) and Stanford from Van Lennep, D . F. W., E u r i p i d e s , Selected Plays with Introduction,
Section VI above; Buxton from Section VII above. M e t r i c a l Synopsis and C o m m e n t a r y . Part I. The A l k e s t i s (Leiden,
1949).
XI: verse and metre Weber, L . , E u r i p i d e s , A l k e s t i s (edition with Introduction and Notes in
2
A . M . Dale, The L y r i c Metres of Greek D r a m a (Cambridge, 1968 ). German) (Leipzig and Berlin, 1930).
- Metrical Analyses of T r a g i c C h o r u s e s , B I C S Supplement 21.1 (1971); Weil H . , E u r i p i d e , A l c e s t e (Paris, 1891).
21.2 (1981); 21.3 (1983) (index of Choruses in 21.3). Wilamowitz-Moellendorff, U . von, G r i e c h i s c h e Tragoedien ΙΠ. A l k e s t i s
D.S. Raven, G r e e k M e t r e (London, 1962) (analyses many complete odes). (Berlin, 1906) (edition with German translation and Introduction).
M.L. West, GreeA: M e t r e (Oxford, 1982) (standard handbook).
- I n t r o d u c t i o n t o Greek Metre (Oxford, 1987) (abridged and slightly Π. Monographs, Articles and Chapters in Books
simplified version of Greek Metre). Beye, C. R., -Alcestis and her Critics-, GRBS 2 (1959), 111-27.
U . von Wilamowitz-Moellendorff, G r i e c h i s c h e V e r s k u n s t (Berlin, 1921) Burnett, Anne, -The Virtues of Admetus-, CP 60 (1965) 240-55.
(analyses and interprets many complete odes). Collard, C , -Formal Debates in Euripidean Drama-, G and R 22 (1975),
58-71.
Conacher, D. J . , E u r i p i d e a n D r a m a : M y t h , Theme and S t r u c t u r e
(Toronto, 1967). Chapter 19.
, -Rhetoric and Relevance in Euripidean Drama-, A J P 102 (1981)
3-25.
, -Structural Aspects of Euripides' A l c e s t i s " , G r e e k Poetry a n d
P h i l o s o p h y , Studies i n Honour of L e o n a r d Woodbury (Chico,
California, 1985), 73-81.
Ebeling, Hermann L . , T h e Admetus of Euripides-, ΤΑΡΑ 29 (1898)
65-85.
von Fritz, Kurt, Antike und moderne Tragodie (Berlin, 1962) 312 ff.
Jones, D. M . , "Euripides' A l c e s t i s " , CR 62 (1948) 50-55.
Lesky, Albin, A l k e s t i s , der Mythos u n d das D r a m a (Wien and Leipzig,
1925).
Rivier, Α., "En marge d'Alceste et de quelques interpretations r£centes",
M u s . H e l v . 29 (1972) 124-40.

26 27
 1
Rosenmeyer, T, G . , The Masks of G r e e k Tragedy (Austin, 1963) "Alcestis
Character and Death", 199-248.
S6chan, L . . "Le Ddvouement d'Alc^ste", Revue des c o u r s et conferences
28 I (Feb. 1927), 490-514; Π (May 1927), 329-53. INTRODUCTION TO A L C E S T I S
Smith, W., "The Ironic Structure in A l c e s t i s " , P h o e n i x 14 (1960) 126-45.
Wilson, J . R. (ed.), T w e n t i e t h C e n t u r y I n t e r p r e t a t i o n s of Euripides'
" A l c e s t i s " (Englewood Cliffc, 1968). I. Ancient information

Our information concerning the date and other features of the

production of the A l c e s t i s is drawn from the second "Hypothesis" to our
play (below page 62). A "Hypothesis", in this context, refers to a notice,
dating back to the time of the Alexandrian editing of Greek tragedies
(and, possibly, sometimes earlier), which was prefixed in our MSS to most
of the extant plays, and provided what was to be understood as the basis
of the play concerned. Some Hypotheses, such as the first one (attributed
to Dicaearchus) to the A l c e s t i s , give only a bare outline either of the plot
of the play or of the legend on which it is based; others, such as the
second Hypothesis (attributed to Aristophanes of Byzantium) to the
A l c e s t i s , contain as well information drawn from the original d i d a s c a l i a e
(or production records) including names of tetralogies and their authors,
dates, and victories in the Athenian tragic festivals.
We learn from this second Hypothesis that the A l c e s t i s was produced
in 438 B.C. as the fourth play in a tetralogy of which the first three plays
(now lost) were The C r e t a n Women, A l c m a e o n i n P s o p h i s , and Telephus,
and that this entry was placed second to Sophocles' entry (names of the
Sophoclean plays are not supplied) in the competition. Enough is known of
the mythical material on which these lost plays of the Euripidean tetralogy
were based to relieve us of any attempt to find a common thread between
them, or between them and the A l c e s t i s . (Not even the element of
novelty, of exploitation of legends outside the usual canon of tragic myth,
1
by which Wilamowitz has characterized many of Euripides' earlier plays,
is shared by all the plays of this tetralogy; while this description applies to
The C r e t a n Women and to some degree to the A l c e s t i s , despite Phrynichus'
prior treatment of the legend, the legends concerning Alcmaeon and
Telephus are both mentioned by Aristotle as among the few on which the
2
best tragedies have been founded).
We are also told, in this same Hypothesis, that the A l c e s t i s , which,
at 438 B.C., is the earliest extant play of Euripides, was "the seventeenth"
play composed by him. The anomaly involved in this information (for the
tragic entries were presented in tetralogies and the A l c e s t i s was said to be
fourth in its tetralogy) is best explained as a failure, on the part of the
author of the H y p o t h e s i s , to take into account three plays (possible
satyr-plays) which had been lost by the time that this Notice was
3
composed.
The interesting information in this Hypothesis that the A l c e s t i s , though

28 29
not, as we know, a satyr—play, was performed in the usual position of the folk-tale, carrying off the King's wife who is, in turn, rescued by a sort
satyr—play is rendered the more significant by the description in the same of superman, Heracles. The only connection which Apollo has with the
Hypothesis of the play's ending as k o m i k o t e r a n ("tending toward the action of the play itself is that he first arranges the "privilege" of the
comic") and (in what may be a later addition to the same Hypothesis) of substitute death; after a brief attempt to put off Death, Apollo leaves the
the whole play as s a t u r i k b t e r o n ("rather like a satyr—play") because, unlike scene for good, and the final overcoming of death is effected in a manner
Tragedy, the change of fortune is to joy and pleasure. A l l this has led quite alien to the mythical world which Apollo inhabits.
many critics (rightly or wrongly) to regard the A l c e s t i s as, uniquely among This initial impression of cleavage increases greatly when we look at
extant tragedies, "pro—satyric", i.e., as not only standing in place of a the mythological tradition relevant to the play. There is evidence of early
satyr—play but also retaining at least some of its characteristics. Just what accounts of Apollo's bondage to Admetus (e.g., a passing reference in
4
is involved, in critics' minds, in this description and to what degree the Homer, signs of a fuller account in the Hesiodic catalogue) but no actual
description is justified by the tone and structure of the A l c e s t i s will be mention, before tragedy, of Alcestis' self-sacrifice. This does not, of
considered later in this Introduction. course, mean that the Alcestis legend did not exist before then, but it may
indicate that it was not always attached to the Apollo—Admetus story and
that, consequently, it was not always a part of the main mythical tradition.
IL The myth and its adaptation The only known treatment of the Alcestis theme itself before Euripides is
5
that of Phrynichus' A l c e s t i s of which we have only one actual quotation:
In an attempt to judge, the nature and purpose of Euripides' treatment
of the myths of Admetus and Alcestis, let us set down the bare events as He constrains the fearless, limb-driven [?] (limb-mastered [?]) body.
Euripides gives them, together with what we know of this material from (frg. 2)
other sources.
Apollo tells us in the prologue of the A l c e s t i s that he had enabled This fragment is usually taken, though with no certainty, to refer to the
King Admetus to postpone his impending death by persuading the Fates to wrestling match between Heracles and Death. It is possible that Aeschylus'
let Admetus off if he could find someone willing to die in his place; this reference ( E u m e n i d e s , 723-28) to Apollo's persuasion of the Moirai, by
sacrifice Alcestis, wife of Admetus, has accepted after both his parents had drink, to spare men's lives, and the Euripidean Apollo's casual reference
refused it, and now the appointed day for Alcestis' death is at hand. to his tricking of the Fates ( A l c e s t i s , 12), may be allusions to Phrynichus'
Apollo explains as follows his own involvement with Admetus: furious at treatment of the theme. (If so, one is tempted to think Phrynichus'
the death of his son Asclepius, slain by Zeus' thunderbolt, Apollo had in A l c e s t i s must have been a satyr-play.) Apart from this, all we know of
turn slain the Cyclopes (makers of thunderbolts) and for punishment had the lost play is that Death appeared in it carrying a sword for the ritual
been enslaved for a period to the mortal Admetus; it was during this cutting of Alcestis' hair (frg. 3).
sojourn that the threat to Admetus' life occurred and Apollo intervened, in The Hesiodic account seems to have been concerned entirely with the
gratitude for his human master's piety towards him. background of Apollo's bondage to Admetus: Apollo's jealous vengeance,
After this monologue, Death appears, to begin his fell office. After with Artemis' help, on his beloved and unfaithful Coronis; his saving of
further unsuccessful attempts to dissuade him, Apollo prophesies that Asclepius, his son by Coronis; Zeus' blasting of Asclepius for raising men
Heracles (identified by description rather than by name) will wrest Alcestis from the dead; Apollo's reprisals against the Cyclopes (the makers of Zeus'
by force from Death. In the course of the play, Alcestis dies, but not thunderbolts) and his subsequent enslavement to Admetus in punishment.
before her husband has promised her, in gratitude, a life of celibacy for Only the last of these details is factually relevant to Euripides' plot,
himself and of cheerless mourning for himself and his house. During the though there is a certain thematic overlap in the roles of Asclepius and
funeral arrangements, Heracles visits Admetus' palace and, unaware of the Heracles.
situation, is hospitably entertained by Admetus. When he learns of his Among the post-Classical accounts of the Apollo - Admetus - Alcestis
host's dissimulation, he rewards it by overcoming Death in an off-stage myths, that of Apollodorus is of the greatest interest. Here it is worth
wrestling match and restoring Alcestis to Admetus. noting that the myth ending with Apollo's enslavement to Admetus is told
6
Even at first glance, a certain cleavage, a certain basic lack of separately from the Admetus-Alcestis legend. The former follows very
congruity, appears between different elements in this myth. On the one closely the main lines of the early ("Hesiodic") version, while the
hand, we have an Olympian, Apollo, and his relations with a human hero, Admetus-Alcestis legend differs in several respects from Euripides' version.
King Admetus; on the other hand, we have Death, a creature of The latter account runs as follows:

30 31
 When Admetus reigned over Pherae, Apollo served him as his thrall, catalogue, which he also claims to be the source of the two accounts in
while Admetus wooed Alcestis, daughter of Pelias. Now Pelias had Apollodorus; this view has been rightly rejected by Professor A . Lesky and
8
promised to give his daughter to him who should yoke a lion and a Miss A . M . Dale.
boar to a car, and Apollo yoked them and gave them to Admetus, In default of evidence establishing the literary ancestry of the Alcestis
who brought them to Pelias and so obtained Alcestis. But in offering theme prior to Greek tragedy, let us turn to the "arguments from
a sacrifice at his marriage, he forgot to sacrifice to Artemis; therefore probability" by which Robert, Lesky and others assert that the core of our
when he opened the marriage chamber, he found it full of coiled story belongs to popular folk—tale rather than to literary tradition. The
snakes. Apollo bade him appease the goddess and obtained as a most ambitious attempt to establish the actual folk—tale kernel of the
favour of the Fates that, when Admetus should be about to die, he Alcestis myth has been made by Lesky who, after discussing the relation of
might be released from death if someone should choose voluntarily to popular to literary mythology in general, outlines three European folk tales,
die for him. And when the day of his death came neither his father preserved in German, Greek and Armenian folk songs, which contain
3
nor his mother would die for him, but Alcestis died in his stead. But elements of the basic situation in the A l c e s t i s . Stripping these songs of
the Maiden [Persephone] sent her up again, or, as some say, Hercules their individual developments and variations, Lesky reduces the story to
fought with Hades [and brought her up to him]. [The last clause is what he considers to be its simplest and oldest form: On the wedding day
omitted in the MSS.] of a King, Death comes for the bridegroom; Death is willing to accept a
substitute, but both the King's parents refuse the sacrifice; finally, the
Here the most interesting differences from the Euripidean version are: young bride intervenes and follows Death to save the life of her
1 0
the role of Artemis and the alternative explanations of the restoration of beloved.
Alcestis. The anger of Artemis perhaps explains the "imminent death" Lesky lists several variations and developments: husband dies for
1
mentioned as threatening Admetus in Euripides versions ( A l e . 13), though doomed bride (manly German version as opposed to eastern expressions of
there seems to be an interesting hint of a n o n s e q u i t u r in Apollodorus female inferiority!); a physical struggle with Death as well as (originally
between the "appeasing of Artemis" and the favour obtained from the instead of?) a substitute death, and so on. Whenever t h e physical struggle
Fates. The peaceful version of Alcestis' return to life is, of course, the w i t h D e a t h i s i n t r o d u c e d , t h e h u s b a n d himself is t h e challenger, a n d
one more favourable to the gods of mythology (one should note, by the w h e n , f o r one r e a s o n or a n o t h e r , he f a i l s , h i s l i f e i s saved only by t h e
way, that Hades has been substituted for Death even in the other version) s e l f - s a c r i f i c e of h i s b r i d e .
and it is this version too which Plato follows (Symposium 179b 5 ff.), It is interesting to contrast the way in which this duplication of
when he tells us that the gods returned Alcestis of their own accord in methods for dealing with Death is handled in Euripides' play. Here, one
admiration of her deed. Robert suggests that Plato himself may have device is used to save the husband, the other, his self—sacrificing wife.
invented this milder version; however this may be, we may accept his view Moreover, in our A l c e s t i s , the dramatist further separates the two devices
that the more violent version is the older one. 7
(and so uses them to better effect) by attaching one of them to the
It seems clear from all that has been said that the myth leading to mythical, "divine" prologue (where Apollo tells of persuading the Fates to
the enslavement of Apollo to Admetus and the myth involving Alcestis' accept Alcestis as a substitute), while reserving the other for the
"substitute" death for Admetus were originally of quite separate and indeed "folk-tale" denouement, where a hero struggles with the primitive figure of
fundamentally different origins. The former belongs to the anthropomorphic Death. Finally, in Euripides' version, the hero who struggles with Death is
and essentially literary tradition of Olympian mythology; the latter, with its an outside agent, not, as in the folk songs, the husband himself. Thus,
bargains and struggles with the monster Death, that pathetically simple while both ways of foiling Death are presented, the husband engages in
incarnation of human fears, suggests the primitive, superstitious and neither while gaining from both. Already we catch a glimpse of a whole
infinitely more urgent preoccupations of folk-tale - until, of course, it new dimension, fraught with ironic possibilities, in the tragic adaptation of
becomes softened by late and artificial mythologizing. Indeed it is not until the legend.
Hyginus ( F a b . 49 and 51), in the second century A.D., and Zenobius (1. How did such a folk tale come to be attached to the end of a myth
18) that we find a continuous narrative starting from the myths of Apollo dealing with the enslavement of Apollo? Nobody knows, of course, but
and Asclepius and ending with the death and restoration of Alcestis. there have been some interesting guesses. Carl Robert points to Euripides'
Despite all contrary indications, Wilamowitz, followed by Ebeling, Sdchan, own words at A l c e s t i s 445 ff. (where the Chorus prophesies that the
M£ridier and others, argues that the c o n s e c u t i v e treatment found in the Queen's fame will be celebrated in song at Sparta at the time of the
late writers goes back to the "canonical" formulation of the Hesiodic Carnean festival, as well as at Athens) and suggests that it was at the

32 33
Carnea, which honoured Apollo, and at similar popular celebrations of Indeed, without Heracles, very little in the way of decisive action would
Apollo at Athens, that the simple folk song got its poetic development. 11
have been left for Admetus at all.
However, this still does not explain why it became attached to the Apollo In the folk tale, no one ever wins the wrestling match with Death;
myth in the first place. Thessaly, a region much given to chthonian cults, nor would the somewhat sentimental "moral" ending which Plato chose
was surely a congenial place for such a folk tale to be developed, and have suited the sinister figure of Death in Euripides' piece. To achieve a
Admetus, to whom Apollo was enslaved, was a Thessalian king. Other happy ending within the chosen ethos of this play, a typically Euripidean
scholars go farther in this matter and point to connections between rescuer must be imported — and in a pro—satyric play, what figure could
Admetus and H a i d e s adamastos ("Hades the unconquerable") and between be more suitable than Heracles? Throughout Euripides' work, we find him
2
"Admetus the hospitable" and H a i d e s pdudegmon, Haides poluxenosV the most inventive of the dramatists, and the more remote his material,
There are other possible links between the Apollo myth and the Alcestis the more daring his innovations. The present device, the appearance of an
story; Asclepius, Apollo's son, is the hero who, foreshadowing Heracles' unexpected rescuer from outside the immediate context of the legendary
role in our play, raised men from the dead, and Apollo himself is of situation or (sometimes) of the poet's own plot, occurs in one form or
course the Olympian opponent p a r excellence of the chthonic powers. In another in the M e d e a , the H e r a c l e s , and the A n d r o m a c h e , and in at least
this connection, Aeschylus' reference ( E u m e n i d e s , 723 ff.) to Apollo's two of these instances, the "intrusion" appears to have been a Euripidean
cheating of the Fates in Admetus' interest is most suggestive, for it is in innovation in the legend concerned. But whether Euripides was responsible
the Eumenides that we have the greatest literary expression of this aspect for the actual introduction of Heracles into the Alcestis legend, or whether
of Apollo. (as most critics believe) he adapted it from Phrynichus' play or from some
In Euripides' A l c e s t i s , we have two interventions from "outside", one earlier version, it seems likely that the particular motivation which
1 6
by Apollo before the action of the play begins, and one by Heracles at its Heracles' role is given in this play is Euripides' own development.
conclusion. Obviously, no one like Heracles was needed in the original folk
tale: as we have seen, any Death—wrestling that was to be done was done
by the husband himself. Nor does Heracles have any part in the Apollo ΙΠ. The play and its problems
myth. When did he come into the picture?
The possibility that Euripides himself first introduced the role of (Q Genre a n d t o n e
Heracles into the Alcestis myth has been raised by one or two scholars, The A l c e s t i s is the only non—satyric play which we actually know
1 7
most notably Ebeling, though his approach is very different from the one (from the ancient hypothesis to which we have already referred) to have
13
which we have been following. It is true that this suggestion contradicts been produced as the fourth play in its tetralogy. The lengthy arguments
the view (rather uncertainly based on Phrynichus, fr. 1) that Euripides among scholars whether, while lacking a satyr-chorus, it still preserved
followed Phrynichus' A l c e s t i s in this matter. Ebeling's argument that some features of the satyr-play, go back, as we have seen, to the
Phrynichus' play could hardly have extended from Apollo's outwitting of authors) of the same hypothesis. The point is not entirely academic, since,
the Fates (see Aeschylus, Eumenides 723-28) to the rescue of Alcestis by if some affinity can be found between the A l c e s t i s and satyr-plays, the
Heracles, seems weak. Euripides himself "covers" this much, if we include elements which seem to set the A l c e s t i s off from the serious tragedies of
what Apollo tells us in the prologue - and not much more than this Euripides need not induce us to place it, as Kitto has placed it (not very
would be needed to explain the (quite hypothetical) reference to happily, in my opinion), among his so-called tragicomedies and
Phrynichus' play in Aeschylus' Eumenides. It sees preferable to point out melodramas. Moreover, if the term "pro-satyric" can be used of the
that no opinion concerning the content of Phrynichus' A l c e s t i s can really Alcestis in a fairly significant sense, then it seems possible that Euripides
be based on a tiny fragment in which text, meaning, reference, and wrote more plays of this kind. We have the names of only three complete
context are all uncertain. 14
tetralogies of Euripides (including that to which the A l c e s t i s belongs), and
Ebeling's suggestion that the role of Heracles is Euripides' invention a total of only eight of his plays (of which only the Cyclops is extant) are
fits well with what he, in common with several recent critics, feels to be described anywhere in ancient sources as "satyric". This is much less than
an important aspect of Euripides' treatment: the new kind of emphasis on a quarter of the total number of titles (probably seventy-five) which can
15
the role of Admetus. It has not, perhaps, been generally recognized that be safely attributed to Euripides, and so it is a reasonable inference that
this emphasis depends in large part on Heracles, for without the intrusion several plays nowhere described as satyric (and of which we know little
of that hero it would not have been easy to present the "restoration" of beyond their titles) may also have stood fourth in their tetralogies and
18

Alcestis as in some way related to the character and actions of Admetus. been "pro-satyric" in one sense or another.

34 35
 Miss Α. Μ. Dale, in her edition of the play, has given perhaps the melodramatic plot and by the myth itself". This is, I believe, a suggestion
fairest of recent assessments of the pro-satyric elements in the A l c e s t i s . which we shall find very helpful in our analysis of the play.
She speaks of the happy ending combined with "a curiously tart, almost
bitter flavour* - which is just right for the A l c e s t i s ; of the presentation (ii) Themes a n d s t r u c t u r e
of Heracles as "discreetly reminiscent of the traditional burlesque of The virtue of hospitality, and the closely related idea of c h a r t s ,
Heracles, the coarse glutton and drunkard who rouses himself to perform "favour" (which always expects reciprocal favour), may be said to provide
feats of strength against the local monster or bully"; of "the discomfiture the ethical theme of our play. However, it is not only "hospitality" and
n n
of Death . . who is not the majestic king throned in the underworld but c h a r i s which are treated with the ambiguous irony mentioned above.
the ogreish creature of popular fancy". To these reminders of the Admetus gains his life only by means of Alcestis' death: as we shall see,
satyr-play, we might add the barracking between Apollo and Death, the neither life nor death is ever mentioned in this play without some
darkly comic irony, touched with ribaldry, of the concluding scene between suggestion of its opposite. Finally, in addition to the "life/death" ambiguity,
Heracles, Admetus and the veiled Alcestis, and the element of theft and we find a similar ambiguity attending the ideas of "profit and loss" which
restoration, of death and resurrection, in the untimely visit and ultimate the substitute death of a p h i l o s , or "loved one", must inevitably entail.
defeat of Death. And yet, in the end, Miss Dale plays it all down: the Admetus gains his life at the expense of Alcestis' loss of life; yet from the
episode with Death is "passed over very lightly"; "the theme is satyric but beginning of the play we shall find Admetus' "gain" questioned (by the
not its treatment here; this is the adaptation of a satyric theme to Servant, for example) and before the play is over we find Admetus
tragedy", and so on. Though she has herself given us most of the questioning it himself. Even, indeed e s p e c i a l l y , before the happy ending,
arguments for regarding the Alcestis as essentially pro-satyric (as opposed, Admetus finds reason to believe that Alcestis, by her death, has gained
say, to tragic and to romantic drama), she refuses us the conclusion. It is more than he has by his avoidance of death.
her insistence on taking the play seriously throughout its action which The counterpoint between hospitality and c h a r t s (both as "favour
prevents Miss Dale from regarding it as essentially different from received" and "favour owed") and the ambiguous treatments of "life" and
tragedy. 1 9
"death", "profit" and "loss", reappear, with varying emphases, in every
It is at this point that Professor Kitto's observation concerning the episode and nearly every choral ode of this most complex little play.
nature of the A l c e s t i s ' plot provides a salutary correction: because the Detailed discussion of these recurrences will be found at appropriate points
A l c e s t i s is based on an impossibility, its action as a whole is deprived of in the Notes to the text but a preliminary survey may serve to indicate
20
tragic, or universal, reality, and so of serious tragic meaning. A healthy how their deployment informs the structure of the whole.
young woman is "taken" by Death (himself featured as an ogre, a The first structural feature which we notice in the A l c e s t i s is that the
primitive projection of folk-tale imagination), because she chooses to supernatural events occur at the beginning and end of the play, while the
substitute herself for her husband, who is actually due to die: a play which happenings within this frame, and the reactions of various characters to
begins with a miracle can also end with one (as this play in fact does); in these happenings, are presented (for the most part) in fairly naturalistic,
22
any case we cannot feel involved, in the way that tragedy requires, with human terms. In the first (or Prologue) section of this frame, "the
9 1
Admetus and Alcestis sufferings, for their experiences, the very conditions hospitality theme", with its related theme of "charts" or "favour for
under which they live, are not drawn from the stuff of life as we know it favour", is introduced in Apollo's opening speech: it is in gratitude for his
or can even imagine it to be. pious treatment during his enforced stay at Admetus* domain that the god
However, while the A l c e s t i s cannot, for the reasons which Kitto has made his deal with the Fates to postpone Admetus' imminent death.
suggests, be regarded as a serious tragedy, it nevertheless deals with both However, the greater part of the Prologue is concerned with Apollo's
human sufferings (death and bereavement) and ethical themes (hospitality unsuccessful attempt to save the self—sacrificing Alcestis from death, here
and loyalty) of the kind which serious tragedy does so often treat. One literally represented by the grim figure of Death. But just as Asclepius,
critic has aptly suggested that in parallel with the "melodramatic" plot of Apollo's son, has been blasted by Zeus for resurrecting men from the
the play, in which Admetus* hospitality to Heracles is rewarded by the dead, so too Apollo is powerless against Death. Apollo's withdrawal and
happy ending of Alcestis' restoration, there is an "ironic" plot in which prophecy about a hero who will accomplish what he, Olympian Apollo,
Admetus, in the very fulfillment of that hospitality which wins her back, cannot do, signals in advance that the play's resolution is to come from
actually betrays his own promises to the wife to whom he owes so outside the world of traditional mythology. (This point is to be reinforced
much. 21
"Concurrently", this critic tells us, "the ironic plot offers an by various reminders from the Chorus that neither Zeus nor A n a n k e
23
analysis and criticism of the attitudes and beliefs implied by the [Necessity] countenances resurrections from the dead.)

36 37
 The first part of our play (after the Prologue) is concerned with the the charts due to Alcestis) has promised to forego. Once again, and with
other side of Apollo's favour, the death of Alcestis, treated first in theatrical e c l a t , "the hospitality theme" is introduced, and with it a new
anticipation (by the Chorus and the Servant) and then (by Admetus and sequence of obligation, both fruitful and destructive in its effect, which is
Alcestis herself) in actuality (77-434). (It is typical of the formal pattern to last until the final verse of the play has been uttered. Once again, also,
of this play that each theme and motif is treated both in song, or these major themes of Hospitality and C h a r t s are accompanied by the
occasionally in anapaestic chant, and in dramatic form [iambic verses, recurrent ambiguous motifs on which we have already commented. To
spoken by actors] though not always in the same order.) persuade Heracles to enter his palace, despite the clear evidence of a
The Chorus, in the first half of the Parodos, wonder whether Alcestis bereavement, Admetus has to disguise Alcestis' death. "She both exists and
26
is still alive or already dead; in the second half, they remind us (in no longer exists", he replies, somewhat absurdly (521), to Heracles'
contradiction to Apollo's prophecy in the Prologue) that death is direct question on the matter and then seeks to explain this contradiction
irremediable, since Zeus has outlawed all possible resurrections by blasting by saying that one who is doomed to die is as good as dead already
24
Asclepius. The same ambiguity regarding life and Death is briefly (527). Bluff Heracles will have none of this nonsense. "Being alive and not
27
touched on in the first Episode: "You may speak of her as both living and being alive", he insists (anticipating his later homily on "life and death")
dead", is the Serving Woman's enigmatic answer to the Chorus' query. "are two quite different things". When he still hesitates to enter a house
However, the main burden of the Serving—Woman's major speech (w. of mourning (even though reassured that the deceased is o t h n e i o s , "outside
152—98) is the celebration of Alcestis as "the best of wives". Her the family"), Admetus ends the argument with the (in the circumstances)
conclusion, "In escaping death he [Admetus] has earned so great a woe rather startling assertion, "The dead are dead! so enter now my halls".
that some day he'll remember it all too well!" expresses the first of many (541). So, too, in answer to the Chorus—Leader's shocked expostulation,
doubts to be cast on Admetus' "gain" from the favour of Apollo. Admetus explains his behavior by a quick calculation of "profit and loss":
In the scenes devoted to Alcestis' actual death, Alcestis "dies" first in "If I refused this guest, my troubles would not be less , . and I would add
#

song (in which she expresses the intensely private experience of being another evil, the repute of an inhospitable house" (see 551—58). So much
carried off in Charon's bark, 244 ff., 252 ff., etc.), and then in dramatic for his promise to Alcestis and the c h a r t s due to her. Ironically, the
dialogue with Admetus, in which she again bids an expiring farewell to her Chorus (now convinced) concludes this part of our play (569—605) by
family (371—91). In between these two passages, she delivers a brisk and celebrating Admetus' hospitality to Apollo in such a way as to remind us
well—considered speech to her husband and receives his equally long and of the rewards which that virtue has already brought him. For now, though
more emotional reply. This conventional lack of realism would not have in the present instance Admetus' "noble nature is carried to an extreme of
puzzled an ancient Greek audience as it does us, though Euripides guest-reverence" (600-1), the Chorus are confident that "the god-fearing
sometimes exploits such formal conventions for his own particular 28
man will, in the end, fare w e l l " .
25
purposes. Thus, in the present instance, the play's ambiguous treatment That Admetus' pious hospitality to Apollo has indeed "paid off", the
of "life" and "death" is well served by this "sandwiching" between two King's avoidance of his fated death would seem, at first, to indicate.
presentations of a dying Alcestis an Alcestis who is very much alive. However, with the arrival of Pheres we are given our first inkling that
However, the main focus of the "death of Alcestis" scene is on the even this reckoning in Admetus' favour may prove inaccurate. Pheres has
revival of the theme of c h a r t s : Admetus owes his life not only to Apollo's come to pay his respects at Alcestis' funeral and to congratulate his son
requital of the favour the King has done him but also to Alcestis' (somewhat sardonically perhaps) on his escape from death. The resulting
considerably greater favour in dying in his place. For this Alcestis, in turn, bitter confrontation (in which Admetus reviles his father for letting Alcestis
demands requital from Admetus — "never an equal favour (for there is make the sacrifice instead of himself - and is then answered in kind) will
nothing of more worth than life itself) but still a just one": namely the be considered later, in our discussion of the character of Admetus. In the
promise that Admetus shall never marry a new wife to be step-mother present context, it is of interest mainly for a crucial point which Pheres
over their children. To this promise the King adds, in an anguish of grief makes in angry rebuttal of his son's contumely:
and of "obligation", the further promises that there shall be no more If you revile us [i.e., for not dying for you] you too will hear many
entertainment in his once hospitable halls and that he will take a statue of revilements - and just ones - heaped upon yourself (704-05).
Alcestis, "a chill delight", to his widowed marriage-bed. To this, Pheres adds a parting shot as he leaves:
The second — and pivotal - movement in our play is marked by the I'll go then. As for you, go and bury the one whose murderer you
entry of Heracles, the traditional "hearty guest" p a r e x c e l l e n c e , a figure are. To her kinsmen you have still to pay the penalty. (730-31)
whose very presence embodies that conviviality which Admetus (as part of

38 39
 It is significant that Admetus says nothing to refute these renown she has put an end to many woes. But / , who ought not to
29
prophecies. When he says to Pheres, "At least you'll die dishonoured!" be living, who have escaped what was fated, will live a grievous life.
(725), is he beginning to realize that this could also be h i s fate? At last, too late, I understand! (935 -40)
Thus, "the Pheres scene" introduces the first (and potentially
tragic) resolution of the "profit or loss?" issue — a resolution which (as The expression a r t i m a n t h a n d ("Too late, I understand!") suggests for
we shall see) is to involve a new recognition by Admetus of his true a moment the p a t h e i mathos ("learning through suffering") of tragic
situation. Early in the play, we have heard the Serving-Woman remind us realization. However, the poet skilfully (in view of the finale which we
(152—98) that, in losing "the best of wives", Admetus' self-saving bargain know is to come) has Admetus veer away from the tragic tone and
may not prove to be a profitable one. Now, from Pheres' tart warnings, emphasize, rather, the hedonistic calculation in which he has come off
Admetus is made aware that the opprobrium of society might be added to second best. Indeed, Admetus' view of his prospects at home ("dirty floors
that bereavement which the Chorus, taking their cue from the and wailing children", 947 -48) has a faintly sordid (if pathetic), rather
Serving—Woman, have called "worthy of suicide". (228). Both aspects of than a tragic note. So, too, outside the home, the King fears the very
Admetus' survival (and of his awareness of them) are to be developed in taunts of cowardice (954-60) which Pheres has prophesied for him (705).
the scene immediately preceding the final sombre choral ode. But "How, then", he concludes, "is it more profitable for me to live, both
sandwiched between these darker episodes (the "Pheres scene" and the faring evilly and hearing evil of myself?" (960—61)
return of Admetus to his lonely home) comes an almost slapstick, The conclusion to this potentially tragic theme of the A l c e s t i s is
"pro-satyric" scene which is, in turn, to prepare us for the happy ending. expressed in the final choral ode. In the parodos, we will remember, the
Just as the grimmer resolution of the "profit or loss?" motif begins in Chorus have lamented that Death cannot be turned aside by prayers; now
"the Pheres Scene", so too the (happy) resolution of "the hospitality (in a sort of extended "ring composition") they remind us that there is
theme" begins in this second episode with Heracles. In this scene, the nothing stronger than A n a n k e (Necessity) who, alone among the gods,
9
boisterous hero, tipsy from Admetus hospitality, delivers a drunken homily receives no sacrificial offerings. In the second strophe, these sad thoughts
to the scowling and mournful Servant on the meaning of life, its closeness are applied to Alcestis and again there is a mournful reference to
to death, and on the necessity, for that reason, of being as a l i v e and jolly Asclepius (this time a veiled one, 989—90) who (we learned in the
as possible — for as long as one i s alive (see w . 773-802). The parodos) was slain for bringing men back from the dead. In the last
appropriateness of this last of the plays on the "life/death ambiguity" antistrophe, however, Alcestis is offered a kind of immortality, one which
before the resurrection scene is, of course, lost on Heracles; nevertheless, is possible in the "real world", as governed by Zeus and Necessity (the
it is this speech which, indirectly, triggers that exciting event. The grieving world with which true Tragedy deals). Her tomb is not to be considered
Servant, finally goaded beyond endurance, reveals to Heracles the enormity like that of the other dead, since her fame and honour, like that of the
of his behaviour in a house that has lost its mistress. Heracles is shattered gods, will live forever in song and story. This is a consolation in which
but will make amends. In gratitude for his host's long-suffering hospitality, Admetus cannot share.
he will wrestle with Death and restore Alcestis to her husband. With the third entry of Heracles, this time leading the veiled figure
With the return of Admetus and the Chorus after the funeral of of Alcestis whom he has wrestled from the clutches of Death, we return to
Alcestis, we reach the first, or "realistic", climax of the play, the bitter "the impossible world" of folk-tale - and to the happy fulfilment of "the
resolution of the question "profit or loss?" which Admetus' escape from hospitality theme", as pious Admetus, true to the Chorus' expectations at
fate has repeatedly aroused. Consistently with the "alternations" we have w. 604-05, receives his "just rewards". Indeed, Heracles' persuasion of
noticed in this play, this new turn in the action is expressed first in song Admetus to shelter the veiled woman (whom he pretends to have won as a
(or rather, in this instance, in a combination of chanting and song) and prize in an athletic contest) provides a sort of doublet of the first scene
then in spoken verse, as Admetus sadly verifies both the expectations of between these two, except that this time the hidden truth is that Alcestis is
the Serving—Woman and the grimmer prophecies of Pheres. alive, not dead, and that it is Heracles the guest who knows the truth,
while Admetus the host remains in Ignorance. Once again Admetus is
Oh bitter return! Oh bitter sight of my bereaved halls! ... I envy the tempted, in the interests of his hospitable reputation, to do a favour for a
dead; I yearn for them ... No longer do I rejoice to see the sun's guest at the expense of a favour which he has promised Alcestis, for It
rays, nor to walk upon the earth! (861-69, in part) What greater evil soon becomes clear (see w , 1087 ff., cf, w . 1056-60) that what Heracles
can befall a man than to lose a faithful wife? (879-80) is really offering Admetus Is a substitute for. and a successor to, his
Friends, I think my wife's fate happier than my own ... With fair Mead" wife. (Minor ironic echoes of the earlier scene appear also In

40 41
 9
various details in this final episode. Heracles reference to Admetus loss, 9 statement about the two kinds of aidos (that sense of shame, awe,
as he had first misapprehended it, as t h u r a i o s ["outside the family", 1014] reverence regarded as the most irreproachable of Greek attitudes to life,)
31
9
reminds us of Admetus willingness to speak of his dead wife as othneios "the one, not bad; the other, the bane of houses",(Hippdytus 385-87).
9
[533], which bears a very similar literal sense; Heracles present argument More to the point, in connection with the A l c e s t i s , perhaps, are the
9
[1091] that Admetus refusal to marry again will not help his dead wife treatments of the "virtue" of c h a r t s in the Helen and in the H e c u b a . In
9
reminds us of Admetus own somewhat heartless declaration, "The dead are the former play, Helen begs the priestess Theonoe not, from any
dead" [541], in his earlier persuasion of Heracles to enter his bereaved misguided sense of loyalty, to reveal the presence of the shipwrecked
home.) Finally and inevitably (though not with the inevitablility of Tragedy) Menelaus to her brother, the jealous Egyptian King. To do so, she insists,
Admetus succumbs to his fatal virtue of hospitality and reluctantly accepts would be to purchase "base and unjust favours (char i t as 902)" in return.
t

the veiled woman just as Heracles seems prepared to accept defeat (see Yet later in the play, Helen herself, the virtuous wife bent on securing her
w . 1105 -08). own and her husband's escape, unjustly acquires favours from the Egyptian
Once the issue is decided, comedy (or perhaps the pro-satyric tone) King in return for promised favours (her own person in marriage) which
is allowed to take over. Heracles insists that Admetus himself, despite his she has no intention of fulfilling. This almost virtuoso treatment of c h a r t s
3 2

reluctance, lead the woman into his halls. The King does so, with face in the H e l e n is comic in tone but there are also treatments of c h a r t s in
averted "as if cutting off the Gorgon's head" (1118). And so, in the very the Hecuba which recall, this time in tragic contexts, both the A l c e s t i s ,
act of betraying her again, Admetus gets his wife back. "Hospitable with its fulfillment of one favour owed at the expense of another, and the
Admetus" has again been rewarded — as Heracles reminds him just before Helen, with its exploitation of false or base c h a r t s for an ulterior motive.
the moment of recognition: Hecuba, seeking to save her daughter Polyxena from being sacrificed at
Achilles' tomb, claims this favour from Odysseus, since she had once saved
Keep her now — and you will say his life; wily Odysseus parries her claim by pleading Achilles' greater claim
the son of Zeus is ever a noble guest! (1119—20) on Greek gratitude and the "long lasting favour" (charts) bestowed by
tomb sacrifices ( H e c . 309—20). Later in the play, Hecuba herself is
It was the virtue of hospitality, and Apollo's recognition of claims of reduced, by tragic circumstances, to exploiting base c h a r t s by seeking
c h a r t s , which saved Admetus' life for him — but at the expense of Agamemnon's help in return for the sexual favours of her daughter
Alcestis' life. It was, once again, the virtue of hospitality which caused Cassandra (Hec. 824-32). One would not wish to overload the paradoxical
Admetus to entertain Heracles - but at the expense of one of his grateful treatment of the A l c e s t i s ' pieties nor to dull thereby the ironic bite, which
(or "c/wris-induced") promises to his dying wife. It is the gratitude of is perhaps the chief impression left by the play. Nevertheless, the questions
Heracles for Admetus' hospitality which, in turn, causes Alcestis to be which the A l c e s t i s raises seem too persistent, too close (for all its
saved from Death. And, finally, it is Admetus' hospitality which causes him folk-tale escapism) to the realities, the basic loyalties of life, for us to
to betray another "favour" promised to Alcestis, and, all unawares, to dismiss them simply as witty exercises in sophistic cleverness.
restore her to her home. This paradoxical treatment of the themes of
c h a r t s and hospitality is surely too sharply edged with irony for us to (iii) The t r e a t m e n t of Admetus
accept the "naive" interpretation of the A l c e s t i s as a simple morality play If one is right in finding some suggestion of a serious ethical theme
on "the reward of virtue". And even apart from the sardonic effect caused at least hinted at in the A l c e s t i s , to what extent is its central character
by the cancellation of one piety through the fulfilment of another, it is involved in it? To what degree is Admetus "characterized" in this play? In
hard to escape the poet's implication that only in the world of folk-tale, what sense, if any, are we justified in speaking of a near-tragedy, or a
romance and fantasy can we expect such happy solutions to the grim potential tragedy, of Admetus?
30
realities of l i f e . Miss Dale has described the central theme of the A l c e s t i s as residing
It would, perhaps, be going too far to suggest that in the A l c e s t i s in "the too-late-knowledge" of Admetus:
Euripides is deriding the traditional virtues of gratitude and hospitality; he
may however, be suggesting that the value of these traditional "virtues" is It [the central theme] might be summed up in his [Admetus'] words
33
not absolute but depends on the circumstances of their fulfilment. Other άρτι μανθάνω: "now - now, when it is too late - I understand".
plays of the poet have, to be sure, emphasized and in some cases
demonstrated the relativity of ethical values traditionally thought by the This critic also speaks, with similar perceptiveness, of the play being
Greeks to be absolute. One thinks, for example, of Phaedra's celebrated "permeated by a sort of grave irony . . . the irony of human intentions

42 43
 34
measured against their outcome". By "human intentions" Dale means (as the speakers]". Instead, we are asked to ponder "two considerations, always
her subsequent sentences indicate) the intentions of Alcestis both to save very important to the Greek dramatists, the trend of the action and the
her husband's life a n d to safeguard her children by having Admetus rhetoric of the situation". Such admonitions do indeed provide a useful
promise not to marry again; by "their outcome", she means the "desert* corrective against the excesses of "psychological criticism", which tends to
of a life to which Alcestis has inadvertently condemned him due to the treat the formally presented figures of Greek Tragedy as if they were
loneliness of his widowhood and the obloquy which will fall on him due to characters in a nineteenth century novel. Nevertheless, the critic seems to
her self—sacrifice. (From this it will be clear that for Miss Dale neither carry her insistence on the poet's lack of interest in characterization (in
the ironic theme nor its ethical overtones are nearly as extensive as we any serious sense of the term) to an absurd degree when she claims that
have suggested in the foregoing analysis of the play.) "the poet is as it were a kind of λογογράφος [or professional speech
In all of this, as well as in other aspects of the play's development, writer] who promises to do his best for each of his clients in turn as the
37
Miss Dale allows very little significance to attach to the sort of person situations change and succeed one another". This view fails, I think, to
Admetus is presented as being; indeed, apart from his hospitable nature, do justice to various touches of unconscious, self—condemning irony in
she argues that the poet is not interested in presenting the king as any some of the King's speeches which we may accept as part of the theatrical
particular sort of person at all: effectiveness of the play without concluding that the action as a whole is
primarily concerned with such matters as Admetus" moral enlightenment.
Of the characters in this play, Alcestis, Herakles and Pheres stand out Two examples of such apparently sardonic touches on the poet's part
in much more definite outline than Admetus . . . . they have to be may suffice to illustrate this point. During his scene with Alcestis (246—79)
the sort of people they are or the action would not work. But for Admetus echoes his wife's lyrical descriptions of her approaching death
Admetus, this applies only to his regal hospitality, which affects only with iambic appeals that she not betray him by dying (275) and with the
a small area of his part in the action. For the rest, . . . he is a (in the circumstances) paradoxical statement that, with Alcestis, dead, he
person to whom things happen. . . . I do not believe that apart from would no longer truly exist (278). If we follow Miss Dale's approach, we
the δ σ ι δ τ η ς [piety] (10) Euripides had any particular interest in the must believe that the poet is simply providing Admetus with the lines
sort of person Admetus was. 35
which are conventionally appropriate for a husband grieving at the
death-bed of his wife. Should we not say, rather, that Euripides is
Now insofar as the A l c e s t i s is primarily concerned with situations exploiting such conventional utterances with ironic effect in view of the
rather than with character, and with ironic reversals unexpected and fact that the lines are singularly i n a p p r o p r i a t e to the circumstances of, and
unintended by the characters in the play, we may agree that the moral reasons for, t h i s particular death? So also, in the scene with Pheres,
qualities of Admetus are not central to its theme. Nevertheless, the ironic Admetus accuses his father of having caused Alcestis' death by his refusal
effects of the play as we have described them depend, at least in some to die instead of her. Then, disowning his own parents, he declares
degree, on two features both of which a r e related to the character of (666-68) that he will instead, be the gerotrophos ("the old age guardian":
Admetus. One of these is the King's sacrifice of personal loyalty, of the normally a filial role) of the one who (by dying!) saved his life. It would
c h a r t s which he owes Alcestis (which Alcestis points out at 229), to the seem perverse to ignore, in the interest of any theory about ancient
more social virtue of hospitality (from which, in turn, further charts dramaturgy, the obvious but effective irony here, at Admetus' expense. If
redounds to Admetus, as Heracles indicates at 842 and 1101). The other is the poet is to be regarded as Admetus' "expert logographos", he has
the King's miscalculation, prophesied by the Serving-Woman and finally surely, in this instance, badly let him down.
admitted by himself, concerning the ultimate satisfaction to be gained by In the A l c e s t i s , then, we have a brilliant j e u d ' e s p r i t , a series of
saving his own life at the expense of his wife's. Both of these features ironic variations on the themes of hospitality and c h a r t s , and on certain
seem to tell us something about the kind of person Admetus is; even if ambiguities which seem, in the circumstances, to surround them. We have
the King's moral judgment is not our primary concern, there can be little seen, too, that the structure of the A l c e s t i s is as tightly woven and
doubt that much of what happens in the play happens as a result of his perfectly controlled as we would expect from a play which depends so
decisions and the priorities on which they are based - elements which, as much on the precise timing of each new twist to be given to the theme.
36
Aristotle and Miss Dale would agree, form the very stuff of "character". And when Admetus declares at the end, "I am indeed a happy man!", we
Miss Dale, however, warns us against any such psychological inferences may well agree with him, while agreeing among ourselves that at least a
or value judments about Admetus - and even against taking the speeches part of "the dry mock" (as the tone of this play might well be described)
of Tragedy to be " p r i m a r i l y or c o n s i s t e n t l y expressive of the natures [of is directed at the pious King himself.

44 45
(iv) Some o t h e r views critics, notably Kurt von Fritz and, to a lesser degree, John R. Wilson in
4 7
At least until recent times, the main interpretative arguments his Introduction to an interesting collection of essays on the A l c e s t i s .
concerning the A l c e s t i s have revolved around the "justification", or Despite Admetus' alleged unworthiness and the ironies involved in the
otherwise, of Admetus. Several critics of the past generation (e.g., G . M . play's denouement, Wilson tends to accept the happy ending of the play at
38
A. Grube and D . W. Lucas) have tended to explain the King's face value, since he finds that "in A l c e s t i s the tone is tolerant and
acceptance of his wife's self—sacrifice by some form of the dynastic or amused", and that "Admetus is somewhat endearing in his incorrigible
"grand seigneur" argument earlier put forward by Wilamowitz and obtuseness". 48

39
Sdchan, or by reference to the relatively inferior status of women in Von Fritz, on the other hand, takes Euripides' implicit criticisms of
Admetus' time. Even commentators critical of Admetus' judgment in Admetus more seriously. Like Wesley Smith whom we have quoted
accepting Alcestis' sacrifice often tend to see him in an admirable light 49
earlier he recognizes two levels of action in the play:
because of his celebrated hospitality. Thus the "virtue rewarded"
interpretation of Admetus' final regaining of his wife through the deed of ... just as Euripides starts out from a fairy tale, so he returns to it
a grateful Heracles has been, and perhaps still is, the most popular view at the end, after he has shown in all the intervening parts of the
of the action as a whole: among earlier studies, see, for example, those of play what happens to the tale when it is transposed into reality. 50

40
H. Ebeling, and D . M . Jones. A variation of this view is provided by
critics, such as S£chan and Grube, who take rather more interest in the On the other hand, Von Fritz takes the ethical implications of the
"psychology" of Admetus than many more recent critics would allow; thus play more seriously than do other critics who have questioned the simplistic
the King is thought, by these critics, to undergo a great emotional change, "virtue rewarded" interpretation of the play. He argues that the apparently
expressed in his lamentations after the funeral, as the action of the play happy ending is not, in effect, happy at all, since Alcestis and Admetus
proceeds. would not, after all that has happened, live happily ever after — and that
Among recent critics, Anne Burnett gives, in both her studies of the the audience is meant to draw this conclusion. However, such speculations
4 1
Alcestis, the most unqualified defence of the "virtue rewarded" view of exd tou d r a m a t o s , "beyond the action of the play", are not, perhaps,
Admetus' actions and experiences in the play. At no point does Burnett justified. It seems safer to rest content with observing (as several critics
allow any hint of Admetus' infidelity to his promises to Alcestis to mar have done) the ironies involved in the two levels of the action. Euripides
praise for his justly rewarded hospitality to Heracles; indeed she suggests has let us see what Admetus might, in the circumstances, have reasonably
that this very hospitality coincides with his promise (not readily discoverable been expected to suffer for his "choice". Only in the never—never world
in the text) to continue to live, fulfilling his duty as a nobleman, as if his of folk—tale can such miraculous rewards for his highly ambiguous "virtue"
42
wife were still alive. With regard to Admetus' acceptance of his wife's be expected, but then only in such a world could the original
sacrifice, Burnett suggests (rather puzzlingly, in view of w . 705, 730, and "life-saving" choice have been offered him.
especially 955 -57) that the audience is discouraged from thinking about
4 3
this matter at a l l . In the second and more extensive of this critic's two (v) Visual aspects of t h e A l c e s t i s
studies, Admetus' "innocence" is expressed in more positive terms: treating While it is hazardous to try to visualize the various theatrical effects
the first part of the play as a form of "the sacrifice tragedy", Burnett of an ancient Greek tragic production, we may perhaps venture to suggest
(without irony) assigns to Admetus the conventional role of "the one who some possibilities. Two features of the theme which we have already noted
44
tries to keep the sacrifice from taking place". in these introductory comments particularly- lend themselves to visual
Other recent critics have been less positive than Burnett about "the illustration: the ambiguous play on life and death and the emphasis on
virtues of Admetus". Dale, as we have seen, though recognizing Admetus' hospitality. It is the latter which makes the palace of Admetus (which
hospitable piety as his only notable characteristic, plays down the "moral provides the total scenic background), and goings and comings which
45
issues" (especially with regard to the sacrifice) in the p l a y . C. R. Beye, revolve around the palace, so important to the stage action of the piece;
on the other hand, emphasizes (as I have) Admetus' sacrifice of his so, too, it is the life/death ambiguity which makes significant the colour,
mourning for Alcestis to his reputation for hospitality, though he reaches or at least the degree of light and darkness, with which each of the major
the somewhat surprising conclusion that the King ultimately resolves the characters is, figuratively or literally, associated.
46
conflict which these two powerful obligations provide. Indeed, the Apollo, the god of light, dressed perhaps in gold-coloured robe with
element of betrayal in Admetus' hospitality to Heracles and in his ultimate matching mask, leaves Admetus' palace (where he has been so hospitably
acceptance of "the veiled woman" has been stressed by several other treated) as Death, black-robed (or possibly black-winged, if we accept

46 47
Musgrave's emendation at v. 843), approaches and, after his altercation the same original, are derived ultimately from the same source. However,
with Apollo, enters the palace to begin his symbolic possession of Alcestis. differences between these MSS vary from play to play and are of such a
The Serving-Maid enters from the Palace (141), answers the Chorus 1
kind as to prevent any clear statement of the relations between them, let
anxious inquiry ("Is the Queen alive or dead?") and withdraws again into alone the creation of an archetype. Of these four, only Β (Parisinus 2713)
the Palace. Her movements in this brief episode anticipate the entry of and V (Vaticanus 209) contain the A l c e s t i s . Ο (Laurentianus 31. 10) and
Alcestis, supported by Admetus (244), for the Death-Scene, and the exit D (Laurentianus 31. 15), manuscripts of the late twelfth and of the
of Admetus with the corpse of Alcestis back into the palace. fourteenth century, respectively, also contain the A l c e s t i s . O, derived from
The sudden, unannounced arrival of Heracles (476), (dressed, no doubt the same source as B , is regularly reported in Diggle's apparatus
in his traditional lion-skin), jars with the pathos of the preceding (reproduced in abbreviated form in the present edition); D , a mere copy
Death-Scene, just as his entry into the palace at Admetus* insistence (546 of B, has for that reason been passed over.
ff.) jars with the mourning which Admetus has promised and just initiated. The second family of manuscripts is derived from a Byzantine copy of
Yet it is the vigour of the hero and the hospitality which he receives not only the ten "select" plays but also of nine additional plays
which is, paradoxically, to redeem the catastrophe. accidentally preserved from an ancient alphabetical collection of the total
In the next episode, Admetus, presumably robed in black, comes out Euripidean corpus. Of the two MSS here concerned, L (Laurentianus 32.1)
again from the Palace (606) to conduct Alcestis* funeral. Almost is more valuable than Ρ (Palatums gr. 287). It is generally agreed that the
immediately, Pheres enters (614) from the right (coming from his own latter is derived from L ; however, for this play (as for several others) Ρ
palace) and after the quarrel scene with Admetus departs (733) whence he also provides readings from other sources and so is independently cited in
has come, while Admetus, with the Chorus, departs in the opposite the apparatus.si
direction (740) leading the funeral procession. The scene is, for the With regard to any question of preference between the two manuscript
moment, deserted, an unusual situation in Greek tragic performances, traditions, one is inclined to agree with Dale's general conclusion that for
marking, perhaps, the lowest ebb of Alcestis* and Admetus* fortunes and the A l c e s t i s neither class of MSS, BV or LP, is clearly superior to the
the point at which the resolution of the various motifs in the play (the other and that consequently each case where a difference appears or a
52
hospitality theme, the life and death ambiguity) will begin. The Servant doubt arises must be decided on its own merits.
enters from the palace (747) to speak the soliloquy complaining about In addition to the manuscripts already mentioned, the late XVth or
Heracles, the guest intruding on mourning for Alcestis. When Heracles early XVIth MS, Q (= Harleianus 5743), which has preserved w .
enters from the palace (773) and the Servant's complaints and revelations 1029-1163 of the A l c e s t i s , has also been used in the preparation of
trigger the beginning of the denouement, Heracles leaves (in the same Diggle's text.
direction as Admetus and the funeral have left) to rescue Alcestis from As in the case of many Greek Tragedies, further assistance in the
Death (860). The stage movements (by which, in a sense, the vicissitudes establishment of the text has been provided by the scholia (which often
of the royal fortunes can be measured) end with the return of Admetus in cite ancient variants differing from the readings of their own MSS) and
despair to his empty palace (861) followed by the triumphant return of from passages (normally called " T e s t i m o n i a l ) excerpted from the play by
Heracles (possibly wreathed as a victor in the Games which he has ancient authors and anthologists. For these, see the A p p a r a t u s C r i t i c u s
53
allegedly won) with the veiled figure of Alcestis (1008). The final and, for the T e s t i m o n i a , the list conveniently provided in Dale's edition.
revelation and Admetus' announcement (1154-6) of celebrations (balancing
his earlier proclamation [425 ff.] of state-wide mourning) provide a
kdmos—like ending to this pro-satyric play.

IV. The Text

As far as the great majority of Euripidean plays is concerned, there

are two main families of MSS. First, there are four annotated MSS (i.e.,
MSS complete with scholia) entitled MABV, representing the selection of
ten plays made for use in schools about the second or third century A.D.
These MSS of the twelfth and thirteenth centuries, though not copies of

48 49
 490-514, especially 493-98 and references to Wilamowitz and Bloch
there given.
13. See Ebeling, 65-85, especially 74-77. Cf. also Th. Bergk,
Notes to Introduction to A l c e s t i s Griechische L i t e r a t u r g e s c h i c h t e (Berlin 1889) m, 498, w h o believes
9 9
that in Phrynichus A l c e s t i s , Alcestis return was the gift of the gods
1. See U . von Wilamowitz, A n a l e c t a E u r i p i d e a (Berlin 1875) 172 ff., of the Underworld.
esp. p. 177. Cf. also Η. E . Mierow, "Euripides Artistic 9
14. On this fragment of Phrynichus, cf. Dale, xiii-xiv, and references
99
Development , A J P 52 (1931) 339 -50, which includes criticism of there given.
9
Wilamowitz's theory of evolution of Euripides art. 15. See Ebeling, 65 - 6 6 , 76-77.
9
2. See Aristotle, P o e t i c s 1453 a 17-22. (On Phrynichus A l c e s t i s , see 16. The suggestion that Euripides introduced Heracles into the Alcestis
below, p.31). story is, of course, highly conjectural. There is, however, no evidence
3. See Dale, Intro., ν and xxxix. in painting or sculpture to contradict the view that the theme of
9
4. There seems to be an oblique reference to Apollo's bondage to Alcestis self-sacrifice made a relatively late entry into the main
9
Admetus, son of Pheres, at I I . 2. 763 —66; Homer s only reference to tradition of Greek mythology. According to J . A . Paton, "The Story
Alcestis with Admetus occurs in his naming of the parents of Eumelus of Alcestis in Ancient Literature and Myth", A J A 4 (1900), 150-51,
at I I . 2. 713—15. For the Hesiodic references, see Hesiod, fragments "The myth was not popular in early art and no unquestioned
122-27 (Rzach = 59, 60, 42, 51, 54b, 54c Merkelbach and West) representations of it have survived." J . D. Beazley, E t r u s c a n Vase
from the E h o i a i , or Catalogue of Famous Women. A scholium to P a i n t i n g s (Oxford 1947), 134, refers to but one uncertain
Euripides, A l e . 1 (Hes. frg. 127 = 54c Μ and W) assures us that in representation of Alcestis on an Attic neck amphora (Louvre F60).
the parts of the myth concerning Apollo's enslavement to Admetus, The fourth century Etruscan representations of the Alcestis story do
Euripides is following the common tale as told by Hesiod and not include the figure of Heracles.
Asclepiades. (The scholiast also adds several other ancient sources, 17. See above, pp. 29-30.
including writers as early <*s Stesichorus and Pherecydes, for this part 18. For the view that other extant Euripidean plays besides the A l c e s t i s
of the myth.) (notably H e l e n and I p h i g e n i a among t h e Taurians) may also have
5. See Nauck, TGF, p. 720. been pro-satyric, see Dana F. Sutton, The Greek Satyr Play,
6. See Apollodorus, B i b l . 3. 10. 3 - 4 and 1. 9. 15 respectively. The (Meisenheim am Glan 1980) 184 ff. Sutton makes the point that the
translation of the latter passage, quoted below, is that of Sir James two plays mentioned provide the elements of comic relief and of
Frazer, in the Loeb edition (London 1921). tragic subversion which he feels should be present in the pro-satyric
7. Carl Robert, T h a n a t o s (Berlin, 1879), 29-30. A l c e s t i s but which are, in his opinion, missing from it. However, on
8. See U . von Wilamowitz, Isyllos v o n E p i d a u r o s , Ρh i l o t . Untersuchungen the basis of length alone, H e l e n and I . T . seem unlikely to have been
9 9
9 (Berlin, 1886) 68 ff. and (on the alleged origins ?md significance of pro—satyric drama, if such a category can be thought to have
such popular religious poetry attributed to Hesiod) G r i e c h i s c h e existed.
9
T r a g o e d i e n , m (Berlin, 1906) 7 ff., in Wilamowitz s introduction to 19. See Dale, xviii-xxii, for the points cited in the above paragraph from
A l k e s t i s . Cf. also M6ridier, 46-47 and (by way of contrast), Dale, be. her discussion. Not all critics have agreed concerning the success of
(Detailed references to the other critics mentioned will be made later the mingling of the comic (presumably "pro-satyric") and serious
in this Introduction.) elements in A l c e s t i s . Among the older critics, Th. Bergk, G r i e c h i s c h e
9. Lesky (1925). The German, Greek and Armenian folk-songs are L i t e r a t u r g e s c h i c h t e ΠΙ (Berlin 1884) 498, praised the introduction of
outlined and discussed at pp. 20 ff., 27 ff., and 30 ff., respectively. Heracles (which he regarded as a Euripidean innovation) as providing
Cf. also Christ-Schmid, G e s c h i c h t e der g r i e c h i s c h e n L i t e r a t u r a hearty " Z w i s c h e n s p i e l " ("interlude") with which to relieve the
(Munich, 1912) I, 355-56, η. 1, where the folk-tale aspects of moving and pathetic element of the play. Mdridier 50-51, while
9
Euripides A l c e s t i s are also stressed. averring that Heracles supplies the only reminiscence of the
10. This is a paraphrase of the summary in Lesky (1925), 41-42; cf. satyr-play in A l c e s t i s , finds that character stripped of his rowdier
i b i d . , 36-41. qualities in order to fit the play's tragic tone. Grube, 145 -46, finds
11. Robert, o p . c i t . , 2 9 . the mixture of the tragic and the comic unsuccessful in the A l c e s t i s in
12. For a sympathetic summary of such views see S6chan (1927), I, that the two elements are kept too far apart ("There is nothing comic

50 51
 about either Admetus or Alcestis, there is nothing tragic about Euripides", A J P 99 (1978) 277 -302, views ApohVs prophecy in a
Heracles") for them to operate together. somewhat different light. He argues that, in I o n , Iphigenia i n Tauris,
20. See Kitto, 315—16. For a more recent and perhaps subtler view of H e l e n , and A l c e s t i s , "the prediction [in the prologue] is altered,
9
the A l c e s t i s comic elements than those considered above, see now B. qualified, questioned or contradicted in the course of the play;" the
Seidensticker, P a l i n t o n o s H a r m o n i c , S t u d i e n zu k o m i s c h e n Elementen resultant tension between the audience's expectations from the
i n der g r i e c h i s c h e n T r a g o d i e (Gottingen 1982) 130 ff. Seidensticker prologue and from the action, respectively, helps, it is alleged, "to
insists that the meaning and the aesthetic charm of A l c e s t i s lie articulate and unify the whole". Hamilton's argument is interesting and
precisely in the fact that the same tale is treated as tragedy and ingenious but works less well for A l c e s t i s than for his other examples
comedy a t t h e same t i m e . Thus he finds that combination in no way in that the audience is never in this play led into serious doubt,
synthetic but expressive of the ambiguous simultaneity of despite the views expressed by the Chorus, concerning Apollo's
Trap—Comedy and rejects the views (held by Kitto and to a degree "prologue prophecy".
by Wesley Smith [below, note 21]) that moments of tragic effect and 24. Rosenmeyer, 217 ff., has described the Chorus in this play as "the
intense emotional sympathy are rendered impossible by the folk-tale instrument which Euripides employs to dramatize man's reliance on
quality which, he finds, supplies its non-tragic elements (see the conventions" by which the ordinary human being can protect
especially pp. 135-35). For Seidensticker, the later comedies of himself "against too keen an awareness of the weight of necessity."
Shakespeare supply the closest literary parallel to A l c e s t i s and he This is a fair comment on many of the Chorus' more banal
suggests (p. 136) that Northrop Frye's definition of romantic comedy utterances (e.g., at 416 ff., which Rosenmeyer includes in his
or "romance" in this connection is applicable, to a remarkable degree, illustrations) but one which hardly does justice to passages such as the
to A l c e s t i s (see Northrop Frye, A n a t o m y of C r i t i c i s m [Princeton 1957] present one (at w . 112 ff.) which help the poet's distinction between
186 ff.). We may, I think, accept Seidensticker's account of the the real, or at least the traditional, world of tragic myth and the
inseparability of the comic and tragic effects of our play without "impossibilities" indicated in the prologue and the exodos of the play.
rejecting, as Seidensticker does, Kitto *s insistence that the blend 25. This convention of employing first lyric and then dramatic expression
renders impossible, even at the more moving moments of the action, to present two distinct aspects of a character's experience (or,
the kind of emotional response we reserve for tragedy. sometimes, personality) has been discussed by several commentators in
21. See Wesley Smith, "The Ironic Structure in A l c e s t i s " , P h o e n i x 14 connection with this passage. See, for example, Rosenmeyer, 225;
(1960) 127 -45; the quotation which follows in the text is from p. Rivier, 135, and his references to W. Schadewaldt, Monolog u n d
127. On the ethical ideas involved in this and comparable Euripidean Selbstgesprach (Berlin 1926) and W. Kranz, Stasimon (Berlin 1933). I
themes, see S. E . Scully, P h i l i a and C h a r t s i n E u r i p i d e a n Tragedy have discussed Euripides' exploitation of this convention in this and
(Ph.D. thesis, University of Toronto, 1973), esp. Chap, m, "Alcestis". other passages (e.g., at M e d . I l l ff. and 214 ff., at H i p p . 199 ff.
(Cf. also the summary in D i s s e r t a t i o n A b s t r a c t s XXXVI, 1484 a-b.) and 373 ff.) in Maia 24 (1972) 199-207.
22. See my article, "Structural Aspects of Euripides* A l c e s t i s " , in Greek 26. See Note ad l o c .
Poetry and P h i l o s o p h y , Studies i n Honour of L e o n a r d Woodbury 27. Cf. Heracles' speech at w . 779-802.
(Chico, California, 1985), 73-81 (the present quotation is from p. 74) 28. See w . 600-05 and Notes ad l o c . Cf. also the Note on the ode as a
which also discusses other examples of Euripides* use of this "framing whole.
device." (Parts of the following discussion of A l c e s t i s structure are9
29. Pheres' prophecies in these two passages, about what may be said
adaptations and expansions of suggestions made in this article.) Cf. about Admetus (and, in his reference to Alcestis' kinsmen, about what
also Kurt von Fritz, A n t i k e u n d m o d e r n e T r a g o d i e (Berlin 1962) 312 may be done to him), together with Admetus' own later expressions
ff., whose view of Euripides* use of this device in A l c e s t i s is briefly of concern (954-60) about what may be said of him, tend rather to
discussed below (p. 35-6). refute the view held in one form or another by several scholars that
23. Rivier, 130-31, has remarked that Apollo*s prophecy of a "happy in accordance with the attitudes of antiquity it would be quite
ending" early in the play indicates the poet's concern (in keeping with acceptable, even expected, that the King should accept the sacrifice
the pro-satyric position of the play) not to yield, or have his even of his wife for his life. Cf., for example, Sichan, 340-42,
audience yield, too much to the natural gravity and gloom of the Grube 129-30, Lucas, 4. (Mdridier, 52 also rebutted such "historical
situation. justifications" of Admetus' position by reference to these passages,
R. Hamilton, in "Prologue, Prophecy and Plot in Four Plays of i.e., to "ie blame public" mentioned by Pheres and feared by

52 53
 Admetus.) Wilamowitz (1906) 88 -93, earlier had also explained "Character and Thought in Aristotle's P o e t i c s " , Collected P a p e r s , 45
9
Admetus attitude (and that of the Chorus) as being in accordance ff. (Even apart from Admetus' presumed decision to accept Alcestis'
with the King*s "Grandseigneur" view of his position. However sacrifice, which a purist might argue is outside the actual dramatic
Wilamowitz does make it clear that the Pheres scene shows Admetus action, the King clearly expresses decisions in his speeches both with
for the first time that the matter may not always be seen from this regard to his promises to Alcestis and with regard to his hospitality to
point of view. (It should be noted also that Alcestis* o w n view of her Heracles and later to Heracles' "veiled woman".)
situation at 284—6 [where she says that instead of dying for Admetus 37. See Dale, xxviii.
she might well, as his widow, have married another Thessalian prince] 38. See Grube, 129-30; Lucas 4.
further rebuts the idea that the Queen is making a sacrifice expected 39. See above, note 29, for references to the views of Wilamowitz,
of her). S£chan, Grube, and Lucas on this point.
30. A similar inference can, perhaps, be drawn from Euripides* treatment 40. Ebeling, 76-81; D . M . Jones, 50-55. (Gilbert Murray [1913] 71-72,
of Helen in his H e l e n . Only in a romantic fantasy can we accept a is one of the few among the past generation of critics to stress that
Helen who is a chaste and faithful "Penelope figure**, waiting patiently Euripides clearly shows us the weakness in Admetus' character in
for Menelaus in Egypt where (in the dramatist's exploitation of accepting his wife's sacrifice.)
Stesichorus* palinode) she has been spirited away by Hermes until the 41. Anne Burnett, "The Virtues of Admetus", CP 60 (1965) 240-55 and
1
siege of Troy has been accomplished. Elsewhere, in more "credible* Catastrophe S u r v i v e d , (Oxford 1971) Chap. Π, 22-46.
Euripidean plays (most notably by Hecuba in The Trojan Women), she 42. Burnett (1971), 39.
is presented as quite the opposite of the faithful wife, pining for her 43. Burnett (1965), 240-41.
husband. 44. Burnett (1971), 27.
31. For various views of what Phaedra (and Euripides) meant by "the 45. See Dale, Intro, iv; cf. also the preceding section of the present
other" a i d o s , see Barrett's note ad l o c . ; E . R. Dodds, "The A i d o s of Introduction.
Phaedra and the Meaning of the H i p p o l y t u s " , CR 39 (1925) 102-04, 46. Beye, 118 ff.
and F . Solmsen, "Bad Shame and related Problems (Eur. H i p p . 47. Kurt von Fritz, A n t i k e u n d Μ ode me T r a g o d i e , 312 ff; Wilson, 4 - 5 ,
380-88)", H e r m e s 101 (1973) 420-25. 7-9. (Von Fritz's discussion of the A l c e s t i s is translated in Wilson's
32. The word c h a r t s occurs ten times in the scenes between collection, pp. 20 ff.)
Theoclymenus, Helen, and Menelaus in the H e l e n . In the context 48. Wilson, 9.
mentioned above, see especially w . 1234 ff., 1411 and 1420; cf. also 49. Cf. s u p r a , p. 36 and Note 21.
my E u r i p i d e a n D r a m a , 298-99 and Note 15. 50. Von Fritz, as translated in Wilson, 82.
33. Dale, xxii. 51. See Diggle I (1984) x i i - x i i i ; cf. Dale, xxx.
34. I b i d . , xxv. 52. Dale, xxxi.
35. I b i d . , xxvii. Though we shall venture some qualifications of this view 53. I b i d . , xxxvi—xxxviii.
there is no question that Miss Dale's treatment of characterization in
the A l c e s t i s , as well as of the theme of the play as a whole, provides
a valuable corrective to the extreme psychological and moralistic
treatments to which it has often been subjected in the past. (An
egregious example of the latter approach may be found in the
Introduction to Van Lennep's edition.) For a view of the presentation
of Admetus which differs from Dale's and yet avoids the excesses of
psychological interpretation, see Arrowsmith, Introduction, Part III.
Arrowsmith speaks (p. 11) of the "complete modal ignorance and
innocence" of Admetus as a man "untamed" (a—damatos) or unbroken
by Necessity who will eventually be "forcibly subjected" to it, when
he comes to realize what Alcestis' self-sacrifice for his life is to
mean to him.
36. See Aristotle, P o e t i c s 1449 b 36 - 1450 a 2. Cf. also Dale,

54 55
 CODICES SIGLA
Β Parisinus gr. 2713 sacc. xi (codicem A exempli causa adhibui)
Ο Laurentianus 3i. ίο c. 1175
V Vaticanus gr. 909 c. 1250-80 A c
A post correctionem incertum qua manu factam
L Laurentianus 32. 2 xiv in. A 1 C
A post correctionem a prima manu factam
Ρ Palatinus gr. 287 xiv in. codicis A manus secunda (siue in textu siue supra lineam)
A*
Q, Harlcianus 5743 (uu. 1029-1163) xv ex. uel xvi in. 8
A in A supra scriptum a prima manu
raro mcmorantur Auv A ut uidetur
Va Palatinus gr. 98 (cod. V apographum) xiv A ?
A non certo legitur
Hn Haunicnsis 417 (cod. Va apographum) c. 1475 (A) A a lectione memorata pusillum discrepat
[A] A non legibilis uel deest
mcmoratur etiam in scholiis <A> lectio in A non legibilis ex indicio nescioquo colligi potest
D Laurentianus 31. 15 (cod. Β apographum) xiv Am A in margine
r
A codicis A lubricator
A* 1
glossema in A
Aw uaria lectio in A cum nota γρ(άφ*ται) uel sim.
GNOMOLOGIA
Tr Demetrius Triclinius codicis L emendator
gV Vatopedianus 36 xii
gB Vaticanus Barberini gr. 4 c. 1300
g£ Escorialensis gr. X. 1. 13 xiv in. Σ scholiasta, scholia
Σ* lectio quam disertim testatur scholiasta codicis A
lemma scholiastae codicis A
lectio quam in textu inuenisse scholiastam codicis A ex eius
interpretatione colligitur
uaria lectio in Σ* cum nota γρ(άφ€ται) uel sim.

lectio cum ceteris codicibus consentit contra lectionem uel

coniecturam modo memoratam
* littera erasa uel obliterata

56 57
 CHARACTERS

Apollo
Death
Chorus of citizens of Pherae
Serving—Maid
Alcestis, wife of King Admetus
Admetus, King of Pherae, a kingdom of Thessaly
Boy, son of Alcestis and Admetus
Heracles
Pheres, father of Admetus
Servant

ALCESTIS

Scene: The play takes place before the palace of Admetus in With prose translation
Pherae, Thessaly.

58
 YnOSECIC AAKHCTIAOC (ΔΙΚΑΙΑΡΧΟΥ) HYPOTHESIS I
(attributed t o Dicaearchus)
%
Απ6λλων r j t r q c a r o παρά των Μοιρών onwc "Α8μητο€ τ * λ -
ςυτάν μέλλων παρά€χηι τον tmkp ίαυτοΰ έκόντα τ€θνηξ6μ€νον,
Apollo requested the Fates that Admetus, when he was
ίνα icov τώι προτέρωι χρόνον ζήοηι. και δη "AXKJ)CTIC, η γυνη
about to die, might provide someone who was willing to die
του *Αδμήτου, €πίδωκ€ν ίαυτην, ovStripov των γονέων €0€λ-
for him, so that he might continue to live as long as he had
rjcavToc vnip του naiSoc άποθανςΐν. μ€τ* ου πολύ Si ταύτη€ τη€ 5
lived already. A n d Alcestis, the wife of Admetus, offered
<υμφορα€ ycvo/icvijc Ηρακλή παραγ€νόμ€νο€ και μαθών παρά
herself, when neither of his parents had been willing to die
T I V O C θ€ράποντο€ τά π€ρι την "Αλκηπιν €πορ€υθη ίπι τον τάφον
for their son. A short time after this unhappy event,
και θάνατον άποοτήναι 7roi^cac κθήτι καλύπτει την γυναίκα, τον
Heracles chanced by and when he learned from one of the
δέ "Αδμητον ηξίου λαβόντα τηρ€ΐν. €ΐληφ4ναι γάρ αύτην πάλη€
servants what had happened to Alcestis, he set out for the
άθλον €λ€γ*ν. μη βουλομένου Sk €Κ€ΐνου άποκαλύφα€ ίδίΐζεν ην ίο
tomb and after making Death stand aside, he covered the
€7T€V0€l. woman up in garments and asked Admetus to take her and
look after her. For he said that he had won her as a prize
1-11. habent BOVPTr et Σ Plat. symp. 179 Β (p. 57 for wrestling. A n d when Admetus was unwilling, Heracles
Greene); consentit Σ Plat, fere cum V unveiled her and showed Admetus the woman he was
Inscriptio υπόθεοιο άλχηοχιδοο δι και άρχου Tr: ύπ— mourning.
ά λ - BOVP 2. έκόνχα BOV: om. PTr χεθνη-
ζόμενον VPTr: αποθάνει ν ΒΟ 6. ήρακληο
παραγενόμενοο BOPTr et Σ Plat.: om. V , qui post
"Αλκηοχιω (7) habet ένχυχών ό ήρακλήο 10. ά π ο -
καλύψαο PTr: om. BOV

60 61
 (APICTO<PANOYC ΓΡΑΜΜΑΤΙΚΟΥ ΥΠΟΘΕΟΟ HYPOTHESIS I I
(attributed to Aristophanes the Grammarian)
"Αλκηςτις, ή Πελίου θυγάτηρ, ύπομείναεα ύπερ του ίδιου
ανδρός TcAcur^cai, Ηρακλέους επιδημήεαντος iv τηι θετταλίαι Alcestis, the daughter of Pelias, after submitting to death
διοκώιζεται, βιαεαμενου robe χθόνιους θεούς και άφελομενου την for her dear husband, is saved when Heracles, sojourning in
γυναίκα, παρ* ούδετερωι κείται η μυθοποιία. το δράμα εποιήθη 15 Thessaly, overcame the chthonic gods by force and took back
ιζ. εδιδάχθη επι Γλαυκίνου άρχοντος όλυμπιάδι < π ? I T C I the woman. Neither of the other two (tragedians) wrote a
πρώτος ήν €οφοκλής, δεύτερος Ευριπίδης Κρήςςαις, Άλκμέωνι play on this subject. The play was composed the seventeenth
τώι δια Ψωφΐδος, Τηλέφωι, *Αλκήςτιδι, (τρίτος...), το 1
(of Euripides plays). It was produced during the archonship
δε δράμα κωμικωτέραν εχει την καταετροφήν. η μεν ςκηνη of Glaucinus < i n the second year, of the eighty-fifth>
του δράματος ύπόκ€ΐται εν Φεραίε, μιάι πόλει της θετταλίας· 20 Olympiad (i.e., 438 B . C . ) . First (i.e., winner of the first
6 δε χορός ευνέςτηκεν εκ τίνων πρεεβυτών εντοπίων, οι και prize) was Sophocles, second was Euripides with the C r e t a n
παραγίνονται ευμπαθήςοντεε τηι της Άλκήςτιδος ςυμφοράι. Women, A l c m a e o n i n P s o p h i s , Telephus, A l c e s t i s , <third...>.
9
προλογίζει δε Απόλλων. \ςϊςιδ* εχορηγοί^. The play has a change of fortune rather of the comic kind.
το δε δραμά εετι εατυρικώτερον, δτι tic χαράν και ηδονην The scene of the play is laid in Pherae, a Thessalian city.
καταετρεφει παρά το τραγικόν. i κ βάλλεται ώς ανοίκεια της 25 The Chorus consists of some local elders who are actually
τραγικής ποιήεεωε ο τε Όρεετης και η "Αλκηετις, ώς εκ present to mourn the death of Alcestis. Apollo is the speaker
ςυμφοράς μεν αρχόμενα, εις εύδαιμονίαν (δε) και χαράν λήξαντα, of the Prologue.
( a ) €CTi μάλλον κωμωιδίας εχόμενα. The drama is of the satyric kind in that it turns to joy
τά του δράματος πρόεωπα- *Απόλλων, θάνατος, χορός, θερά- and pleasure at the end, contary to the tragic kind. The
παινα, "Αλκηετιε, "Αδμητοε, Εύμηλοε, Ηρακλής,9
Φέρηε,$ο Orestes and the A l c e s t i s are rejected from tragic poetry in
θεράπων. that they begin from disaster and end in joy and delight,
1
εξιών εκ του οίκου του *Αδμήτου προλογίζει ο * Απόλλων which belong rather to comedy.
ρητορικώε.

12-33. habet V : 12-15 (γυναίκα), 19-23 (ή μέν ...

Απόλλων), 29-31 Β Ο : fere 12-13, 29-33 Ρ : 29-31 Τ Γ :
12-15 (μυθοποιία) Σ Plat.
Inscriptionem add. Wuestermann: om. codd et Σ Plat.
16. < π ε έ χ ε ι β> Dindorf 18. <xpixoc...> Kirchhoff
s
19. καχαοχροφήν V : καχαοκευήν V 22. χήι χηο
'Αλκήοχιδοο ουμψοράι Wecklein: χήο ά λ - ουμφοράο V :
χ α ϊ ο ά λ - ουμψοραϊο Β Ο : χήι ά λ - ουμφοράι Nauck
23. 5fc άπόλλων Β Ο : ό ήλιοο V έχορήγει et choregi
nomen latere uidit Dindorf, qui haec uerba post indicem
poetarum (18) trai., cl. arg. A . Ag. 25. χό χραγικόν.
έκβάλλεχαι Leo: xotc xpccyiKoic έ κ - V 27. < δ έ >
Matthiae 28. < ά > Hermann 29-31. ά π - θ ά -
χο- θ ε - (θεράπαινα άλκήοχιδοο Tr: θεράπων BOV)
ά λ - ά δ - ε υ - ή ρ - φ έ - (VTr: φ έ - ή ρ - Β Ο ) θ ε - (Tr:
om. BOV) BOVTr: ά π - ή ρ - παϊο άλκήοχιδοο εύμηλοο
χάρων φ έ - χροφόο θεράπων ά λ - χο- άδ- Ρ
ΕΟμηλοο] π α ϊ ο 'Αλκήοχιδοο Murray 63
 AAKHCTIC ( A p o l l o enters 9
f r o m Admetus palace, armed w i t h a bow, H e
ΑΠΟΛΛΩΝ begins speaking t h e Prologue)
Ψ 9 9 9
Ω δώμοτ Αδμήτει , εν ofc ετλην εγώ
θήεεαν τράπεζα» αινέεαι θεόε περ ων. A P O L L O . Ο house of Admetus! In your halls, god though I
Ζεύε γάρ κατακτάε παΐδο τον εμον αΐτιοε be, I brought myself to accept a hireling's fare. Zeus
9
Αεκληπιόν, ετερνοιειν εμβολών φλόγα 9 was the cause of this. For when he slew my son
Asclepius, striking his thunderbolt into his chest, I was
οΰ δή χολωθειε TCKTOVOC Δίου πυροε 5
angered at this and slew the Cyclopes, the makers of
κτείνω Κύκλωπαε· και με θητεύειν πατήρ
9
those thunderbolts of his; then did Zeus force me, as
θνητώι παρ* άνδρϊ τώνδ αποιν* ήνάγκαεεν.
9
punishment, to serve as menial to a mortal man. So
ελθών δε γαΐαν τήνδ εβουφόρβουν ξενωι
9 9
came I to this land, and tended cattle for my host —
και τόνδ εεωιζον οίκον εε τόδ ήμεροε.
and up to this day I have been keeping his house in
όείου γάρ άνδροε δειοε ών ετύγχανον ιο
safety. For, lover of virtue that I am, I met a truly
παιδοε Φέρητοε, δν θανεΐν ερρυεάμην, 1
virtuous man in Pheres son. H i m have I saved from
Μοίραε δολώεαε- ήινεεαν δε μοι θεαι death by beguiling the Fates: they promised me that
Άδμητον "Αιδην τον πορουτίκ εκφυγεΐν, Admetus might escape his imminent death by giving in
άλλον διαλλάξαντα τόΐε κάτω νεκρόν. exchange another corpse to the infernal gods. To all his
9
πάνταε δ ελεγζαε και διεξελθών φίλουε, 15 friends in turn Admetus went and put them to the test
9 9
[πάτερα γεραιάν θ ή εφ έτικτε μητέρα,] [to his father and ancient mother who bore him too];
ούχ ηΰρε πλην γυναικόε όετιε ήθελεν none did he find except his wife who was willing to die
9
θανών προ κείνου μηκετ είεοραν φάοε' for him and see the light no more. And now within the
9
ήν νυν κατ οΐκουε εν χεροΐν βαετάζεται house he is supporting her, breathing her last, for it is
φυχορραγοΰεαν τήιδε γάρ εφ εν ήμεροι 9
20 on this day she is fated to die and leave her life.
θανειν πεπρωται και μεταετηναι βίου. I, for my part, lest any pollution reach me in the
εγω δε, μη μίαεμα μ εν οομοιε κιχηι, house, now leave the shelter of these beloved halls.
λείπω μελάθρων τώνδε φιλτάτην ετεγην. Already I see Death approaching, priest of the dead,
ήδη δε τόνδε θάνατον είεορώ πελαε, who is about to lead her down to Hades' house below.
ίερεα θανόντων, δε νιν ειε "Αώου δόμουε 25 At the right time, watching for the day when she must
μέλλει κατάξειν ευμμετρωε δ αφίκετο, 9
die, has he arrived.
9
φρουρών τόδ ήμαρ ώι θανεΐν αυτήν χρεών.
{Enter Death)
16. del. Dindorf πατέρα τε (καΐ πατέρα Nauck)
4
γραΐάν θ Monk 17. 6οτιο Reiske: ή τ ι ο VLP et Β
4
18. θανών Reiske: θανεΐν VLP et Β 19-20. ήν ...
ψυχο ρ payouc αν Usener cl. 201: ή ... — ouca codd.
23. τώνδε φιλτάτην Σ" Hi. 1437: τήνδε φιλτάτην LP:
τώνδε φιλτάτων BOV et Hi. 26. ούμμετροο (quod
coni. Nauck) e Ρ falso referunt

64 65
BANATOC D E A T H . What's this? What are y o u doing about these halls?
2 2· Why are y o u hanging about here, Phoebus? Are you
τί ευ πρόε μελάθροιε; τί ςύ τήιδε πόλεις, once again committing the injustice of encroaching on 30
%
Φοϊβ ; άδικεϊε αύ τιμάς ενέρων 3° the infernal gods and suppressing their prerogatives?
9
άφοριζόμενοε και καταπαύων; Wasn't it enough for you to prevent Admetus death by
ουκ ήρκεεέ coi μόρον * Αδμήτου cheating the Fates with your artful tricks? Now, armed
διακωλύεαι, M o i p a c δολίωι with your bow, are you also watching over this one,
εφήλαντι τέχνηι; νυν δ* έπι τήιδ* αύ Pelias' daughter, who undertook to save her husband by
χέρα τοξήρη φρουρείς όπλίεαε, 35 dying in his place?
ή τόδ* υπέστη, πόειν έκλύεαε* A P O L L O . Don't be frightened! Justice and sober argument
αυτή προθανεΐν Πελίόυ παις; are on my side!
Απ. θάρεεί' δίκην rot και λόγους κεδνούε έχω. D E A T H . Then why the weapons, if you have justice on your
θα. τί δήτα τόξων έργον, ει δίκην εχειε; side?
Απ. εύνηθεε αίει ταύτα βαετάζειν έμοί. 4° A P O L L O . It's my custom always to carry these with me. 40
θα. και τοιεδέ γ* οϊκοις έκδίκωε προεωφελεΐν. D E A T H . Yes, and it's 'your custom' too, it seems, to help
Απ. φίλου γάρ ανδρός ςυμφοραϊς βαρύνομαι, this house, quite beyond justice.
θα. και νοεφιεΐε με τούδε δευτέρου νεκρού; A P O L L O . I help it, yes — for I grieve for the troubles of a
Απ. άλλ' ούδ' εκείνον πρόε βίαν ε* άφειλόμην. man who is my friend.
θα. πώε ούν ύπερ γης εετι κού κάτω χθονόε; 45 D E A T H . Then are you also going to rob me of this second
Απ. δάμαρτ* άμείψαε, ήν ςύ νυν ήκειε μετα.
corpse?
θα. κάπάξομαί γε νερτέραν υπό χθόνα.
A P O L L O . But I didn't take the first one either from you by
κ force.
Απ. λαβών ΐθ ου γάρ οίδ' αν εΐ πείεαιμί εε.
D E A T H . Then how is it that he's still above ground, not
θα. κτείνειν γ* δν αν χρήι; τούτο γάρ τετάγμεθα.
down below?
Απ. ουκ, άλλα roic μέλλουει θάνατον άμβαλεΐν. 5°
A P O L L O . Because he exchanged his wife for himself - and
θα. εχω λόγον δή και προθυμίαν εέθεν.
she's the one you're after now.
Απ. εετ* ούν όπως "Αλκηετιε εε γήρας μόλοι;
D E A T H . Well, be assured I ' l l lead her, at least, to the
θα. ουκ εετι- τιμαΐς κάμε τέρπεεθαι δόκει.
%
regions 'neath the earth.
Απ. ούτοι πλέον γ αν ή μίαν φυχήν λάβοιε.
A P O L L O . Take her and go! For I doubt I could ever
θα. νέων φθινόντων μείζον άρνυμαι γέρας. 55
persuade you.
D E A T H . T o slay whom I've a duty to slay, yes! For that's
η r
28 . χόφων P (item fere ad uu. seqq., sed ad 39 et 72 my assignment.
eccvctxoc) 31. om. P, del. Nauck 34. οφήλαντα Monk A P O L L O . N o , to put off death for those about to die. 50
38. xoi BOV et gBgE: τε LP 41. έκδίκωο LP: έ ν δ - D E A T H . I take your meaning - a n d your zeal in this
c
BOV 47. νερτέραν Ρ et L : - ρ ω ν BOV<L?> matter.
49. y V: om. BOLP 50. άμβαλεΐν Bursian: έ μ β - A P O L L O . Is there any way by which Alcestis might reach
b v b v :
codd. et Z 55. γέραο BOV et Z κλέοο LP old age?
D E A T H . There isn't. I, too, you must understand, enjoy my
rights.
A P O L L O . You still wouldn't get more than a single life.
D E A T H . When the young die, I get greater honour.
66 67
Απ. καν γραύε όληται, πλουείωε r a ^ c c r a t . A P O L L O . But if she's an old woman when she dies, she'll
θα. προε τ ω ν εχόντων, Φοίβε, τον νόμον τίθηε. have a richer burial.
Απ. πωε εΧπαε; αλλ* ή και ςοφος λεληθαε ων; D E A T H . Why, Phoebus! You're establishing a law in favour
θα. ώνοΐντ* αν ofc πάρεετι γηραιοί θανεΐν. of the rich!
Απ. οΰκουν δοκεΐ εοι τήνδε μοι δούναι χάριν; 6ο A P O L L O . How do you mean? Are y o u going to turn out to
θα. ού δι/τ*· Imcracai δε τούε εμούε τρόπουε. be one of those clever people?
Απ. εχθρούς γε θνητοΐε και θεοΐε ετυγουμενουε. D E A T H . Those who could afford it would purchase a late
θα. ουκ αν δνναιο πάντ* εχειν α μη εε δει. death.
Απ. ή μην ευ πείεηι καίπερ ώμάε ων άγαν A P O L L O . Don't you think you might grant me this favour? 60
τοΐος Φερητοε εΐει προε δόμους άνήρ 65 D E A T H . No I don't! Surely you know my ways!
Εύρυεθεωε πεμψαντοε ΐππειον μετά A P O L L O . Yes — ways hateful to mortals and hated by the
όχημα θρήικηε εκ τόπων δυεχειμερων, gods.
δε δη ξενωθειε τοΐεδ* εν *Αδμήτου δόμοιε D E A T H . You mustn't expect to have everything you're not
βίαι γυναίκα τήνδε ε* εξαιρήεεται. entitled to!
κούθ* ή παρ* ήμών εοι γενήεεται χάριε ηο A P O L L O . Even you, I swear, will have to yield, for all your
δρ&ςειε θ* ομοίως ταύτ* άπεχθήεηι τ* εμοί. savage spirit: such a one will come to the house of
θα. πόλλ* αν ευ λέξαε ούδεν αν πλέον λάβοιε- Pheres, when Eurystheus sends him to bring the team of
ή δ* ούν γυνή κάτειειν ειε "Αιδου δόμους. Thracian horses from their wintry home, such a hero
ετείχω δ* επ* αύτήν, ώε κατάρξωμαι ξίφςι- who, after being entertained in Admetus' halls, will
ιερός γάρ ούτος των κατά χθονοε θεών 75 forcefully wrest this woman from you. Then, with no
δτου τ ό δ ' εγχοε κρατοε άγνίεηι τρίχα.
gratitude from us, you'll do all we ask you now — and 70
still have earned our hate.
X 0 P 0 C
τί ποθ* ήευχία πρόεθεν μελάθρων; (Exit Apollo)
τί εεείγηται δόμος * Αδμήτου;
— ά λ λ ' ούδε φίλων πελαε <<?CT'> ούδείε,
D E A T H . Even if you talk more, you won't, I think, gain
δετιε άν εΐποι πότερον φθιμενην 8ο more. The woman, then, will go down to Hades' realm.
χρή βαείλειαν πενθεΐν ή ζώε* I'm on my way to her now, to begin, with my sword,
the rites of sacrifice. For that one from whose head this
sword has cut a hair in sacrifice, is sacred to the gods
b
58. λέληθαο V L et yPZ : έλήλυθαο Ρ: πέφυκαο ΒΟ et below the earth.
{
WP # 59. ώνοϊνχ' L et Σ^: ώ ν ο ι ν χ ' ΒΟΡ: δ ν ο ι ν τ "
V et ^2^: δναιντ* Tr γηραιοί Hermann: -o\>c codd. (Exit Death)
l y
et et 7 p 64. π ε ί ο η ι F.W. Schmidt: τιαίκ:η(ι)
n
codd. 77 . xop6c LP: ή μ ι χ ό ρ ι ο ν B V : utrumque O: cf.
Σ^ ν
δ ι α ι ρ ε ί τ α ι (sc. ό χορόο) z i c δύο ή μ ι χ δ ρ ι α ( T h e C h o r u s enters, c h a n t i n g as they march into the
77—111. orationis diuisio nonnullis in locis incerta est: uide orchestra a n d take u p their position i n f r o n t o f t h e palace)
etiam ad 112 et 136 79. < £ c x > Monk 81. xph
β α ο ί λ ε ι α ν π ε ν θ ε ί ν Blomfield: β - π - χ - codd.: β - χ - C H O R U S ( c h a n t i n g ) Why is everything so quiet in front of
π - Tr the palace? Why has the home of Admetus fallen silent?
There is no member of the household at hand to
tell me whether I am to mourn the Queen as one 80
68 69
 f r i φώε λεύεεει Πελίου τάδε παΐε already dead or whether Pelias' daughter still lives and
Αλκηετιε, εμοι παει τ αριετη sees the light of day, namely Alcestis, thought, by me
δόξαεα γυνη and all others, to have been to her husband the very
ποειν ειε a i r f j c γεγενηεθαι. 85 best of wives.
(singing)— Has anyone heard lamentation, or the
— κλύει TIC ή ετεναγμον ή beating of hands within the halls, or wailing, as if
χειρών κτύπον κατά ετίγαε everything was over?
[crp. α
ή γόον ώε πεπραγμένων; — No such sounds have been heard, nor is any
— ού μ&ν ούδε τιε άμφιπολων servant standing at the gates. Ο Healer Apollo, even 90
οτατίζ€ται άμφι πυλαε. now may you appear to bring us relief from woe!
ει γάρ μετακοίμιοε άταε, — If she were dead, everyone would not be keeping
90 silent.
ώ Παιάν, φανείηε.
— tThe corpse has not yet been carried out of the
— ου τον φθιμεναε γ* εειώπων. house, t
— | ο ύ yap δη φροΰδοε γ* εξ οίκων νέκνε ήδη."\ How do you know? I'm not so sure. What makes
— πόθεν; ουκ αύχώ. τί εε θαρεύνει; 95 you so confident of this?
— πώε αν ερημον τάφον "Αδμητοε How (if she were dead) would Admetus have left
κεδνηε άν έπραξε γυναικόε; his dear wife's tomb deserted?
I don't see spring water placed before the gates, as
— πυλών πάροιθε δ ' ούχ ορώ [άντ. ά is the custom before dead people's doors. 100
πηγαΐον ώε νομίζεται
χέρνιβ* επι φθιτών πυλαίε. ιοο

82. λεύοοει Πελίου τδδε Bothe: τ - λ - π - codd.

b v
91. μετακοίμιοο Zacher: —κύμιοο codd. et Z
93—7. num hi uu. in responsionem cum 105-11 redigendi
sint incertum est 94. νέκυο ήδη BOVL: ήδη νέκυο Ρ:
νέκυο Tr: del. Elmsley ού δή φροϋδοο νέκυο έ ζ
οίκων Seidler 96—7. lac. unius monometri ante 7t&c
indie. Kirchhoff, ante τάψον Earle, ante κεδνήο Hartung
b v
< μ ε τ ά θ* ή ο υ χ ί α Ο κεδνήο Oldfather cl. Z (έρημον
...μεθ* ήουχίαο Σ*\ έρημον...καΐ ήουχον Σ^)

70 71
 - χαίτα τ* ουτκ επι πρόθυρου Nor is there any shorn hair lying at the doorways,
roficuoc» νεκύων tsuch as is cut in grief for the dead, nor do young
πενθεί πίτνει, ούδε νεολαία] f
women st hands beat their breasts.
δουπεΐ χειρ γυναικών. — And yet this is the fated day . . .
— ' tWhat is this day you mean?t
και μην τάδε κύριον ήμαρ 105 — O n which she must go beneath the earth.
f r t τ ό δ ' avSdtc;f You have touched me to the quick, touched me to
ώι χρη εφε μολεΐν κατά γαίαε. the heart!
εθιγεε φυχάε, εθιγεε δε φρενών. When the good are destroyed, 'tis right that
- χρη τών αγαθών διακναιομενων anyone known for long—standing loyalty should grieve.
πενθεϊν δετιε no There is no land whither one might send a pilgrimage
χρηετοε άπ* άρχηε νενόμιεται. — neither to Lycia nor to the dry tAmmonian
stretches t — so as to save the life of this unhappy
αλλ* ούδε ναυκληρίαν [cr/>. β woman. For death inevitable is creeping on her. Yet I
εεϋ οποι τιε αιαε know of no sacrificial altar of the gods to turn to
ετείλαε, ή Λυκίαν
εΐτ* επι τάε άνύδρουε 115
]*Αμμωνιάδαε cSpacf,
δυετάνου παραλύεαι
φυχάν μόροε γάρ άπότομοε
πλάθει, θεών δ* επ* εεχάραν
ούκέτ* εχω τίνα μηλοθύταν πορευθώ. ΐ20

101. orationis diuisionem indie. Hartung χ α ί τ α BOLP:

- τ η V : accus. fort. i r f O ^ (τετμημένοο την τ ρ ί χ α ) , nom.
ili2)bv 103. π ί τ ν ε ι Elmsley: π ι τ ν ε ϊ codd.: πρέπει
Biaydes (quo accepto 6 pro £ Diggle) 105-11. uide ad
93 - 7 106-7. hoc ordine BOV: inuerso LP 106. τ ί
n
τ ό δ ' αύδάοειο; Hermann 112 . nullam notam LP: χο.
BOV 114. Λνκίν Monk: - i o c codd. et
%
115-16 et 125-6 lectio incerta est ε ί τ * έφ έδραο
άνύδρουο /'Αμμ— uel ε ϊ τ %
έπί xtxc άνύδρουο / Α μ μ - %

(del. έδραο) Nauck "Αμμωνίδαο Musgrave, "Αμμωνοο

Monk 118. μόροο O V L : μέροο Ρ: μόνοο Β
άπότομοο Blomfield: άπό**μοο L : άποτμοο BOP et Tr:
άπότμοο V 120. ούκέτ* έχω Hartung: ούκ έχω έπί
( ' π ί L) codd., quibus seruatis έ τ ' pro έ π ' 119 Bursian:
ούκ έχω έ τ ι Weil

72 73
 μόνα δ* άν, €4 φώε τόδ' ήν [άντ. β Alcestis alone — if the son of Phoebus Apollo were
δμμαειν δεδορκώε alive to gaze with his eyes upon this light of day — she
Φοίβου ποΐε, προλιποΰε* alone might have escaped from Hades' gates and murky
ήλθ* αν εδραε εκοτίουε 125 dwelling—places. For he raised those whom death had
9
Αιδα τε πυλαε· taken till he himself was smitten by the Zeus—sent fiery
δμαθενταε γαρ άνίετη, thunderbolt. So now what hope of life can I still hold 130
πριν αντον εΐλε διόβολον for her?
πλήκτρον πυροε κεραυνίου. [For as it is every ritual thas been completed by the
νυν δε βίου τίν' ετ* ελπίδα προεδεχωμαι; 130 King;t sacrifices flowing with blood have been made in
full measure on the altars of all the gods. Yet still there
[πάντα yap 17817 |τ€Τ€λ€Γται /faaAcOccvt, is no cure of woes].
πάντων δε θεών επι βωμοΐε But here is one of the serving—maids coming out of the
αίμόρραντοι θυείαι πλήρειε, house, weeping. What news am I going to hear? ( T o the
ούδ* εετι κακών ακοε ουδέν.] 135 Serving—Maid) If something is happening to your
— άλλ' ήδ* οπαδών εκ δόμων τιε έρχεται mistress, your grief is quite understandable. But I would 140
δακρυρροοΰεα' τίνα τύχην άκούεομαι; like to know whether she is still alive or whether she
πενθεΐν μεν, εΐ τι δεεπόταιει τυγχάνει, has indeed perished.
ευγγνωετόν ει δ* ετ* εετιν εμφυχοε γυνή
εΐτ* ούν δλωλεν είδεναι βουλοίμεθ* αν. 140 (Enter a Serving M a i d f r o m the p a l a c e )

S E R V I N G - M A I D . Y o u might say that she is both alive and

ΘΕΡΑΠΑΙΝΑ
dead.
και ζώεαν ειπείν και θανούεαν εετι εοι.
CHOR. How could the same person 'die' and still see the
Χο. και πώε άν αύτοε κατθάνοι τε και βλεποι;
light? 143
θε. ήδη προνωπήε εετι και ψυχορραγεί. 143
S E R V . — M . She is already drooping and breathing her last.
Χο. ελπιε μεν ούκέτ* εετι εώιζεεθαι βίον; ιφ
C H O R . Then there is no longer any hope that her life may 146
θε. πεπρωμένη γάρ ήμερα βιάζεται.
%
be saved?
Χο. οΰκουν επ αύτήι πράεεεται τα πρόεφορα;
S E R V . — M . N o , for the fated day approaches.
θε. κόεμοε γ* ετοιμοε, ώι εφε ευνθάφει πόειε. 149
C H O R . A n d the fitting services are, of course, being
Χο. & τλήμον, οϊαε οΐοε ών άμαρτάνειε. 144
performed for her?
θε. ουπω τόδ* οΐδε δεεπότηε, πριν άν πάθηι. 145
S E R V . - M . Yes, and the adornment in which her husband 149
will bury her lies ready.
122. μόνα Diggle: μόνοο codd.: μόνον Hermann CHOR. Unhappy husband, pious man that you are, what a 144
v
125. ή λ θ ' &ν Monk: ήλθεν codd. ( ή λ θ ' L « , - Tr) pious wife you are losing.
CKOxioc V 130. β ί ο υ χίν* έχ* Hartung: χ ί ν ' έ χ ι S E R V . - M . The master doesn't realize this yet - and won't 145
βίου V: χ ί ν ' έπί βίου ΒΟ: χ ί ν α β ί ο υ LP until he suffers it.
n
132-5. del. Wheeler 136 . nullam notam OLP: paragr.
b
Β: χο. V : cf. Z 6Xoc λ έ γ ε ι ό xop6c xccOxa
136. όπαδδο L (-Tr) 146-9. ante 144 trai. Lueders

74 75
 C H O R . Well, let her know that she is dying renowned, at 150
Χο. ϊετω νυν εύκλεήε γε κατθανουμίνη 150 least, and by far the best of wives beneath the sun!
γυνή τ* άρίετη των ύφ' ήλίωι μακρώι. S E R V . - M . How could she n o t be the best? Who will
9
θε. πώε δ ουκ άρίετη; TIC δ* €ναντιώθ€ται; contradict it? What ought the surpassing woman to be
τί χρή λεγεεθαι τήν ύπερβεβλημενην called? How could any wife show more honour to her
γυναίκα; πώε δ' αν μάλλον £νδ€ΐ£αιτέ TIC husband than by being willing to die for him? This the
πόειν προτιμά* ή θελουε* ύπερθανεΐν; 155 whole city knows full well. You will be amazed to hear
9
και ταδτα μεν δή πάε* imcraTai πολιέ what she did in the house: for when she learned that
9
α δ εν δόμοιε εδραεε θαυμάεηι κλύων. her fated day had come, she bathed her fair flesh with
επει γάρ ήιεθεθ' ήμεραν τήν κυρίαν spring water and taking clothes and adornments from
ήκουεαν, ύδαει ποταμίου λευκόν χρόα their homes of cedar wood, she dressed herself in 160
ελούεατ', εκ δ* ελοΰεα κςδρίνων δόμων 16ο befitting fashion. Then, standing before the altar of
εεθήτα κόεμον τ* εύπρεπώε ήεκήεατο, Hestia, she made this prayer: "Divine mistress, falling
και ετάεα πρόεθεν 'Εετίαε κατηύξατο' before you this last time (for now I am to descend
9
Δεεποιν , εγώ γάρ έρχομαι κατά χθονόε, beneath the earth), I will ask you to look after my
7τανϋ€τατόν εε προεπίτνουε9
αίτήεομαι orphaned children. T o the boy, join a loving wife; to
τεκν* δρφανεϋεαι τάμά' και τώι μεν φίλην 165 the girl, a noble husband. And I pray that my children
εύζευξον άλοχον, τήι δε γενναίον πόειν may not perish, as I, their mother, perish, before their
μηδ* ώεπερ αυτών ή τεκοΰε' άπόλλυμαι time, but rather that they may be happy and fulfil a
θανεΐν άωρουε παΐδαε, άλλ* εύδαίμοναε pleasant life in their native land". Then she went to all
εν γήι πατρώιαι τερπνόν εκπλήεαι βίον. the altars throughout the house of Admetus and 170
9
πάνταε δε βωμούε, οΐ κατ *Αδμήτου δόμουε, ι ηο garlanded them and made her prayers, stripping foliage,
προσήλθε κάξεετεψε και προεηύξατο, as she did so, from the branches of a myrtle tree,
πτόρθων άποεχίζουεα μυρείνηε φόβην, without tears or lamentation, nor did the coming evil
άκλαυτοε άετενακτοε, ούδε τούπιον change the natural loveliness of her complexion. Then,
w
κακόν μεθίετη χρωτόε εύ€ΐδή φύειν. finally, she did weep, as she cried out, Dear bed,
κάπειτα θάλαμον εεπεεοΰεα και λεχοε 175 where I first lost my maidenhood to this husband for
ενταύθα δή 'δάκρυεε και λέγει τάδε* whom I die, farewell! I hate you not, but you alone
Ώ λεκτρον, ένθα παρθενει ελυε* εγώ have destroyed me: for it is in dread of betraying you
κορεύματ εκ τούδ* άνδράε, ού θνήιεκω πάροε, and my husband that I die. Some other woman will 180
%
χαΐρ'· ού γάρ εχθαίρω ε - άπώλεεαε δί με
μόνον προδούναι γάρ ε* όκνούεα και πόειν ιβο

153. λέγεοθαι Broadhead: γενέοθαι codd., quo seruato x6

μή ου (χό μή Dawe) pro χί χρή Lenting χήνδ' Reiske
178. Tiapoc Wilamowitz: πέρι codd. 180. μόνον Markland:
μόνην codd.

76 77
 θνήιεκω. c€ δ* άλλη TIC γυνή κεκτήεεται,
possess you, more fortunate perhaps but not more
ςώφρων μεν ούκ αν μάλλον, εύτυχήε δ* iccuc.
chastely true". Then falling on the bed, she kissed it
and all the bedding grew wet from the tear—floods
κυνει δε προεπίτνουεα, πάν δ4 δέμνιον
streaming from her eyes. When at length she'd had her
όφθαλμοτέγκτωι δένεται πλημμυρίδι.
fill of many tears, she went stumbling headlong from the
επει δε πολλών δακρύων εΐχεν κόρον, 185
bed, leaving the room many times only to return and
ετείχει προνωπής έκπεεούεα δςμνίων,
cast herself upon the bed again. The children kept
καΐ πολλά θαλάμων εξιοϋε' έπεετράφη
clinging to their mother's clothes and wailing, and the
κάρριφςν αύτήν αύθιε εε κοίτην πάλιν.
Queen then took them in her arms and kissed them
παϊδ*ε δε πέπλων μητρόε εξηρτημένοι each in turn like one about to die. Thereupon, all the
έκλαιον ή δέ λαμβάνους' εε άγκάλαε igo servants throughout the house began crying in pity for
φπάζετ* άλλοτ' άλλον ώε θανουμένη. their mistress. The mistress herself stretched out her
πάντεε δ* έκλαιον οικεται κατά ετέγαε right hand to each of them in succession and there was
δέεποιναν οικτίροντεε' ή δέ δεξιάν none too base to be addressed by her and to address
προύτ€ΐν* έκάετωι κούτιε ήν ούτω κακόε her in return. Such are the woes in the house of
δν ού προεειπε και προεερρήθη πάλιν. 195 Admetus. And if he, the King, had died, he would, to
τοιαΰτ' εν οΐκοιε εετιν *Αδμήτου κακά. be sure, have perished, but in escaping death he has
και κατθανών τάν ώιχετ*, έκφυγών δ* έχει acquired such a sorrow as he never will forget.
τοεούτον άλγοε, ούποθ* ού λελήεεται. CHOR. No doubt Admetus must be grieving for these woes,
9
Χο. ή που ετενάζει τοιείδ "Αδμητοε κακοΐε, since he is to be deprived of such a noble wife?
εςθλήε γυναικόε ει ετερηθήναί εφε χρή; aoo S E R V . — M . He does indeed lament as he holds his dear wife
θε. κλαίει γ* άκοιτιν εν χεροΐν φίλην εχων in his arms and, begs her not to abandon him — an
και μή προδούναι λίςεεται, τάμήχανα impossible request: for she is already fading away and
ζητών φθίνει γάρ και μαραίνεται νόεωι. looks quite wasted by illness. Fainting, a grievous burden
παρειμενη δέ, χειρόε άθλιον βάρος, on his arm, breathing still, though faintly, she yet longs
δμωε δέ, καίπερ εμικρόν, εμπνέουε* ετι, 205 to look upon the light of day [since never again but
βλέφαι πρόε αύγάε βούλεται τάε ήλίου now for the last time will she look upon the rays and
[ώε ούποτ* αύθιε αλλά νυν πανύετατον the bright orb of the sun]. But I'll go and announce
άκτϊνα κύκλον θ* ήλίου προεόφεται].

182. ουκ άν codd. et Ar. Equ. 1252 et Σ ΑΓ.: ουχί Suda

Hi. 129. 29 et 594. 26 Adler 190. ec άγκάλαο BV: έ π '
άγκάλαο Ο: έν άγκάλαιο LP 197. ώ ι χ ε χ ' F.W.
Schmidt: ώλεχ* fere codd. ( ώ ι λ - Ο, ώλεχ' άν Ρ)
198. ούποθ' ού Nauck: οΰποχ' ου BOL: οΟ ποχ* ού V et
ν
(B2)LC: ούποχε Ρ « (δΰτιοχε Ρ« υν) 04. post h. u. lac.
2

indie. Elmsley 205. dist. F.D. Allen 207-8. (= Hec.

411-12) del. Valckenaer; tantum 208 Lachmann

78 79
 αλλ* εΐμι και εήν άγγελώ παρουείαν
your presence. For by no means are all men so
ού γάρ τι πάντεε εδ φρονουει κοιράνοις, 210
well—disposed to their rulers as to stand by them with 210
ώττ* cv κακοιαν ευμενείς παρεετάναι*
kindly intent in their troubles. But y o u r love for my
ευ δ* cf παλαιόο Scororaic ejxotc φίλος.
masters has stood the test of time.
Χο.
—ιώ ZcO, TIC αν πάι πόρος κακών €Τ
[ Ρ· (Exit Serving Maid)
ycvoiTO και λυαο τυχαο
α πάρεετι κοιρανοις; CHOR. ( s i n g i n g ) Ο Zeus, what way out might there be from
— <αίαί>· the evils which beset my master? What escape from the
faciei T i c | ή τέμω τρίχα 215
misfortune which now befalls him?
και μέλανα ετολμον πέπλων — < 0 woe!> tWill someone come outt? or am I
άμφιβαλώμεθ* ήδη ; even now to cut my hair and put on black mourning
— Sciva μέν, φίλοι, δεινά y \ αλλ* δμως
garb?
θεοΐειν εύξόμεεθα*
— Dread prospects, friends, dread indeed, but still we
will make our prayers to the gods, for the power of the
θεών γαρ δύναμις μεγίετα. 220
— ώναζ Παιάν,
gods is very great. 220
— Lord Apollo the Healer, find some way out of his
εξευρε μηχανάν τιν* Άδμήτωι κακών.
troubles for Admetus.
— πδριζε δη πδριζε' και πόρος γάρ
Help, oh help him! For once before tyou found a
|τουδ* εφεΰρεε] και νυν
way out,t so now again be a saviour from death. Keep
λντήριοε εκ θανάτου γενοΰ,
murderous Hades at bay!
φόνιον δ* άπόπαυςον "Αιδαν. 225

213-43. choro trib. BOVP, 218-25 famulae cetera choro L ;

orationis diuisiones indie. Hermann 213. π&ι BO: πώο
b
πα V : πωο *** L : πωο παι* Ρ: cf. Z x l c . f l πωο ή που;
215. <<χιαϊ> Wilamowitz ε ί ο ί x i c ; Wilamowitz ή
Zuntz χέμω Hermann: χ εμώ codd. 218. δ ε ι ν ά
...δεινά Diggle: δήλα...δήλ& codd. 219. εύζδμεοθα
Hadley: ευχώμεοθα Β et Tr: εύχώμεθα fere OV ( έ χ - V):
εύχόμεθα < L > P ceterum εύχώμεοθα- θεών / y&p et
231-2 έν / < y > δμαχι Musgrave 221. άδμήχω VLP:
- χ ο υ ΒΟ 225. δ ' BOV: χ ' LP

80 81
 παπαι< ^ > [ · άντ — " Alas! Ο son of Pheres, how dreadfully you fared
ώ παι Φερψοε, οΓ Ιπρα- by the loss of such a wife!
£ac δάμαρτοε εοε ετερείε. Cry woe! these sufferings are worthy of one's life's
- acat* blood, and more than enough to bring one's neck into a
a f ια και c^ayac τάδ« lofty noose!
και ιτλέον η βράχωι δερον — For he shall see none but his dear — no, his
ούρανίωι πελάεεοι. dearest — wife dead on this very day. 230
— τάν y a p ού ψίλαν άλλα ^ιλτάταν »3° — Look! Here she is coming out of the house and
her husband with her.
yuvauca Kar0avoOcav
—— Lament, make moan, Ο land of Pheres, for this
cv άματι τώιδ* επόψηι.
noblest of women, now wasting away in illness to Hades
— ιδού ιδού·
τ|δ* εκ δόμων δη και irocic Tropcucrai.
'neath the earth!
— βόαεον ώ ετεναξον ώ Φεραίο. Never more will I say that marriage brings more joy
χθων τάν άρίεταν 2
35
than pain. This I know both from what I've seen before
y w a u c a μαραινομεναν νοεωι
in life and from what I now see of the King's 240
κατά γάε χβονιον παρ' Μιδαν.
misfortunes, for, bereaved of his most excellent wife,
he'll live, for the rest of his days, a life which is no
life at all.
ούποτε φηεω γάμον ευφραίνειν
πλέον ή λυπεΐν, τοΐε τε πάροιθεν
τεκμαιράμενοε και τάεδε τύχαε 24°
( E n t e r Admetus, s u p p o r t i n g A l c e s t i s , f o l l o w e d by s m a l l son
Acucccuv βοειλεωε, δετιε άρίετηε
a n d d a u g h t e r a n d by a t t e n d a n t s c a r r y i n g a c o u c h . )
άπλακών άλάχου τηεδ* άβίωτον
ALCESTIS ( s i n g i n g ) Ο Sun and light of day! Ο heavenly
τον έπειτα χρδνον βιοτεύεει.
whirlings of the scudding clouds!
AAKHCTIC
9
Αλιε και ^ a o c άμεραε [crp. α
ουράνιοι τε δι- 2
45
ναι νεφελοε δρομοίου.

226. παπαϊ < > / ώ Dindorf: παπαϊ ώ fere BOV: παΐ

τιαΐ φεϋ φευ ιώ ιώ LP: παπαϊ ψευ παπαϊ φευ ιώ ιώ / ώ
Gaisford 227. ο χ ε ρ ε ί ο Monk: οχερηθείο codd.
229. καΐ VLP et gB: om. ΒΟ 231-2. uide ad 219
232. χώ(ι)δ' έπόψει BOV: χώδε y' όψει LP
234. pcxxcov ώ έχέναζον BO(V): c x - ώ β - L(P)
235. numeri suspicionem mouent 237. y&c V : y&v BOLP

82 83
 A D M E T U S That sun looks down on the two of us, two
AAMHTOC mortals cursed with such misfortune. Yet we have done
δραι εε κάμί, δύο κακώε πεπραγάταε, the gods no wrong for which you now must die.
9
ούδεν 0€ouc δράεανταε άνθ ότου θανήι. A L . ( s i n g i n g ) Ο earth and palace roofs and bridal chambers
Αλ. γαία τε και μελάθρων ετέγαι [άντ. α of my Iolcian home! ( A l c e s t i s sinks down o n t h e couch)
νυμφίδιοί τε κοι- A D . Rouse yourself, my poor dear wife! Don't desert me!
ται πατρίαε 9
Ιωλκού. Beg the all powerful gods for pity!
Αδ. επαιρε εαυτήν, ώ τάλαινα, μή προδώιε* 250 A L . ( s i n g i n g ) I see the two—oared skiff upon the mere. A n d
Atccou δε τούε κρατοΰνταε οίκτΐραι θεούς. Charon, dead people's ferryman, his hand upon the
pole, already summons me: "Why are you delaying?
CT
Αλ. δρω δίκωπον δρω εκάφοε εν [ P- β Hurry up! You're being a hindrance!" Thus, I tell you,
λίμναι· νεκύων δέ πορθαεύε does he vehemently hurry me along.
9
έχων χέρ επι κοντώι Χάρων A D . Alas! Bitter indeed this voyage you tell me of! Unhappy
9
μ ήδη καλεί- Τι μέλλειε; 255 one! What dreadful things we suffer!
επείγον ευ κατείργειε. τάδε τοί με A L . ( s i n g i n g ) Someone is leading me away — oh don't you
επερχδμενοε ταχύνει. see? — someone is leading me away! It's winged Hades
Αδ. οϊμοι* πικράν γε τήνδε μοι ναυκληρίαν glowering at me from under his dark brows, taking me
ελεξαε. ώ δύεδαιμον, οία πάεχομεν. to the halls of the dead. What are you doing? Let me
go! O h , what a dreadful journey I must travel in my
9
Αλ. άγει μ άγει τιε, άγει μέ τιε (ούχ [άντ. β misery!
δράιε;) νεκύων εε αύλάν, 260 A D . A journey fraught with grief for those who love you,
υπ* δφρύει κυαναυγέει and most of all to me and to our children who share
9
βλέπων πτερωτδε Αιδαε. this woe together.
τί ρέξειε; αφεε. οϊαν δδδν ά δει-
λαιοτάτα προβαίνω.
9
Αδ. οίκτράν φίλοιειν, εκ δέ των μάλιετ έμοι
και παιείν, οίε δη πένθοε εν κοινώι τόδε. 265

256. τάδε τοί με B(0)V: τ ά δ ' έτοιμα LP et (gB)

263. τ ί ί>έζειο LP: μέθεο με τ ί ρέξειο (πράξειc V)
BOV et gB

84 85
Αλ. μέθετε μέθετέ μ* ήδψ [επωιδ. AL. ( s i n g i n g , t o her a t t e n d a n t s ) Let go of me, I say, let go
κλίνατ', ού εθένω ποείν. of me! Lay me down! M y legs have lost their strength.
0
πληείον Αιδαε, εκοτία Hades is near; darkness is now stealing over my eyes.
δ* έπ* δεεοιει νύξ έφέρπει. Children, dear children, your mother lives no longer. 270
τέκνα τέκν*, ούκέτι δη 270 Farewell, dear children! long may you see this light of
ούκέτι μάτηρ εφώιν εετιν. day!
χαίροντες, ώ τέκνα, τάδε φάοε δρώιτον. AD. ( c h a n t i n g ) Alas! A l l this is bitter to hear, more bitter
for me than any death. Don't be so cruel as to
Αδ. οιμοΓ τόδ* έποε λυπρδν άκούειν abandon me! By the gods, < I beg you>, and by these
και παντός έμοι θανάτου μείζον. children too, whom you will make orphans by your
μή προς <cc> θεών τλήιε με προδοΰναι, 275 death! Rise up, then! Take heart! With you dead, my
μή πρδε παίδων οΰε δρφανιεΐε, life would be nothing. O n you depends our existence,
αλλ* άνα, τδλμα. whether or not we are truly alive! For so we reverence
εοϋ γάρ φθιμενηε ούκέτ* άν εΐην, your love.
εν εοι ο εεμεν και ζην και μη' A L . Admetus, before I die — for you see how things are 280
εήν γάρ φιλίαν εςβόμεεθα. with me now — I want to tell you my wishes.
Reverencing you before my own life, I die, since I have
Αλ. *Αδμηθ*, δράιε γάρ τάμά πράγμαθ* ώε έχει, 280 arranged thereby that you should continue to see this
λέξαι θέλω εοι πριν θανεΐν α βούλομαι. light of day. I did not have to die for you; instead, I
έγώ εε πρεεβεύουεα κάντι της έμήε could have married any Thessalian lord whom I wished
ψυχής καταετήεαεα φώε τόδ* ειεοράν and have lived in a house rich with a ruler's wealth.
θνήιεκω, παρόν μοι μή θανεΐν, ύπερ εέθεν, But I did not wish to live, deprived of you, with my
αλλ* άνδρα τε εχεΐν θεεεαλών δν ήθελον 285 orphaned children and I spared not my youthful beauty,
και δώμα ναίειν δλβιον τυραννίδι. though in both of these possessions I took much joy.
ουκ ήθέληεα ζην άποεπαεθεΐεα εοΰ And yet your father and your mother, the one who
ευν παιειν δρφανοΐειν, ούδ* έφειεάμην begat and the one who bore you, both abandoned you, 290
ήβης, έχουε* εν οίε έτερπόμην έγώ. when they had reached an age when they might quite
καίτοι ε* δ φύεαε χη τεκοΰεα προύδοςαν, 290 properly have died, quite properly have saved their son
καλώς μεν αύτοΐε κατθανεΐν ήκον βίου, and so have died with fair renown. For you were their
καλώς δε εώεαι παιδα κεύκλεώε θανεΐν.

266. μέθεχε μέθεχέ μ' LP: μέθεχέ με μέθεχέ μ' BOV

267. κλίναχ* BOV: κλίναχέ μ' LP 270. hiatus
suspicionem mouet 271. ούκέχι fere BOV: ούκέχι δή
LP 272. φωο L όρώιχην Eimsley 273. ακούει ν
Monk (uel oncoOcai): άκουω codd. et gE 275. <ce>
Porson 289. έχουο' έν o i c έχερτιόμην εγώ BO:
έχουοα δώρ' έν o i c έχερπδμην fere VLP (δώρον έν L ;
2
έχερπόμην έγώ V , - V )

86 87
 μ6νο< γάρ ούτοΐε ήεθο, κούτιε έλπιε ήν
only son and there was no hope, when you had died, of
εού κατθαν6ντο€ άλλα φιτύεειν τέκνα.
producing other children. And then both I would have
9
κάγώ τ άν έζων και εύ τάν λοιπόν χρόνον, 295
continued to live, and you, for the rest of our time,
κονκ άν μονωθείς εήε δάμαρτοε εετενεε and you would not now be lamenting the loss of your
και παΐδαε ώρφάνευεε. άλλα ταδτα μεν wife, nor bringing your children up as orphans. But still,
%
θεών τιε εξέπροξεν ώεθ οντωε εχειν. some god contrived that these matters should turn out
9
εΐέν εν νυν μοι τώνδ άπόμνηεαι χάριν so.
αιτήεομαι γάρ ε* άξιον μεν ονποτε 3°° Very well then. Remember now the favour you
{φυχηε γάρ ουδέν έετι τιμιώτερον), owe me for all this. I will never, of course, ask back
δίκαια δ*, ώε φήεειε εύ' τούεδε γάρ φιλεΐε an e q u a l favour (for nothing is more valuable than life) 300
ούχ ήεεον ή *γώ παΐδαε, εΐπερ εύ φρονεΐε. but I will ask for what is just as you yourself will
τούτουε άνάεχου δεεπόταε έμών δόμων agree: for, as a right—minded man, you love our
9
και μή πιγήμηιε τοΐεδε μητρυιάν τέκνοιε, 3°5 children as much as I do. Allow them to be the future
9
ήτιε κακίων ούε εμού γυνή φθόνωι master and mistress of my house and don't marry a
τοϊε εοίει κάμοιε παιει χείρα προεβαλεΐ. step—mother over our children: — some woman who,
9
μή δήτα δράεηιε ταύτά γ , αιτούμαι ε έγώ' 9
unable to rival me in excellence, will spitefully raise her
9
έχθρα γάρ ή πιοΰεα μητρυιά τέκνοιε hand against these children, yours and mine. Of all
9
τοΐε πρόεθ , έχίδνηε ούδεν ήπιωτέρα. 3 1 0
things, don't do this, I beg you. For a stepmother
9
και παιε μεν άρεην πατέ ρ έχει πύργον μεγαν coming after is harsh to the children of a former
[δν και προεεΐπε και προεερρήθη πάλιν]* marriage, no gentler than a viper. 310
εν δ', ώ τέκνον μοι, πώε κορευθήεηι καλώε; Now a male child has a great tower of strength in
ποίαε τυχούεα ευζύγου τώι εώι πατρί; his father [whom he can talk to and in turn be
9
μή εοι τιν αΐεχράν προεβαλοΰεα κληδόνα 3*5 answered]. But you, Ο little daughter of mine, how will
ήβηε έν άκμήι εούε διαφθείρηι γάμουε. y o u grow up properly to maidenhood? What sort of wife
ού γάρ εε μήτηρ ούτε νυμφευεει ποτέ
to your father will you find? I fear lest she destroy your
9 marriage prospects by afflicting you with some scandalous
ούτ έν τόκοιει εοΐει θαρευνει, τέκνον,
9 report when you are in your bloom of youth. For your
παρούε , ίν' ούδεν μητρόε εύμενέετερον.
9 2 0
mother will not be there to betroth you nor, by her
δει γαρ θανεΐν με- και τόδ ούκ εε αύριον 3
presence, to give you heart in your labours of
ουδ* εε τρίτην μοι *f μηνόε] έρχεται κακόν,
child—birth, when there is nothing more helpful than a
9 9
αλλ αύτίκ εν τοΐε ούκετ ούει λέξομαι. mother. For I must die, and this evil comes on me not 320
χαίροντεε εύφροίνοιεθε' και εοι μεν, πόει, tomorrow nor the third tof the month t but i m m e d i a t e l y
γυναΐκ άρίετην εετι κομπάεαι λαβείν, am I to be spoken of as among those who are no
2
ύμίν δέ, παΐδεε, μητρόε έκπεφυκέναι. 35 longer alive. Farewell, and may you be of good cheer:
for you, husband, may boast that you married a most
299. νΟν μοι Dindorf: νϋν μοι V et gE: μοι νΟν ΒΟ: δή excellent wife and you, my children, that you were born
β
μοι L : δ ήμΐν Ρ 312. del. Pierson: uide 195 321. of the best of mothers.
τ ρ ί τ ο ν μοι φέγγοο Herwerden

88 89
Χο. θάρεεν προ τούτου yap λέγειν ούχ άζομαΐ'
δράεει τάδ*, εΐπερ μή φρενών άμαρτάνει. CHOR. Be assured: for I do not hesitate to speak before
Αδ. 9
έεται τάδ*, έεται, μή τρεεηιε έπεί ε* εγώ your husband. He will do what you ask, unless he has
και ζώεαν εΐχρν και θανουε* έμή γυνή
taken leave of his senses.
A D . Fear not. What you ask will be granted, to the very
μόνη κεκλήεηι, κούτιε άντι εου ποτέ 33°
letter. Even as I cleaved to you while you were alive,
τονδ* άνδρα νύμφη θεεεαλιε προεφθέγξεται.
so too, in death, you alone will be called my wife and 330
ούκ έετιν οντωε ούτε πατρδε εύγενοΰε
no Thessalian bride will ever address me in your place.
ούτ* είδοε άλλωε εκπρεπεετάτη γυνή.
Nor, indeed, is there any woman as distinguished as you
αλιε δέ παίδων* τώνδ* δνηειν εύχομαι
in noble parentage, or in beauty, either. And as for
θεοιε γενέεθαί' εου γάρ ούκ ώνήμεθα. 335 children, I have enough already. I pray to the gods that
οΐεω δε πένθοε ούκ έτήειον το εδν I may get full profit from them, for from you I did
αλλ* cor* άν αιών ούμδε άντέχηι, γύναι, not. Not for just a year but for as long as I live, dear
ετυγών μεν ή μ* έτικτεν, έχθαίρων δ* έμον wife, will I bear the burden of my grief for you —
πατέρα* λόγωι γάρ ήεαν ούκ έργωι φίλοι. even as I continue to hate the woman who bore me and
εν δ* άντιδοΰεα τήε έμήε τα φίλτατα 34° the father who begat me. For in name only were they
φυχηε εεωεαε. άρά μοι ετένειν πάρα family, and not in deed. Rather, it was y o u who saved
9
τοιάεδ άμαρτάνοντι ευζύγου εέθεν; me by sacrificing your own dearest possession for my 340
παύεω δε κώμουε ευμποτών 0* όμιλίαε life.
ετεφάνουε τε μούεάν 0* ή κατεΐχ* έμούε δόμουε. Is it any wonder, then, that I should grieve, when
Γ
ου yap ποτ οντ αν ραρριτου οιγοιμ ετι 345 I am losing such a wife as you? I will put an end to
OUT* άν φρεν* έξάραιμι πρόε Αίβυν λακεΐν revels and convivial gatherings, garlands and music such
αύλόν εύ γάρ μον τέρφιν έξείλον βίου. as used to fill my halls. For never again, I fancy, will I
εοφηι δε χειρι τεκτόνων δέμαε το cov touch the lyre or rouse my spirit to sing to the Libyan
εικαεθέν εν λέκτροιειν έκταθήεεται, flute. You have, you see, quite taken away my joy in
&ι προεπεεούμαι και περιπτύεεων χέραε 35° life. A likeness of your person, fashioned by the skilled
όνομα καλών εδν τήν φίλην έν άγκάλαιε hand of a craftsman will be laid out in my bed. O n
δόξω γυναίκα καίπερ ούκ έχων εχειν this I'll fall and, as I embrace it and call your name, 350
φυχράν μεν, οϊμοι, τέρφιν, άλλ* δμωε βάροε I'll seem to hold my dear wife in my arms, although I
hold her not: a chill delight, I realize, but still I might
in this way lighten the burden of my soul. But yet,
c 1 b
326. οΰχ άζομαι BOV et ΐΡ: ού χάζομαι LP et B et 2
327. ε ϊ π ε ρ ...άμαρχάνει BOV et gBgE: ήντιερ.,.άμαρχάνη
LP 329. έμή VLP: εμού BO 333. έκπρεπεοχάχη
l c ?
L et P : ε ύ ι ι ρ - BOVP 335. έλέοθαι Maas
346. έξάραιμι Wakefield: έζάροιμι LP: έ ξ α ί ρ ο ι μ ι BOV
et 347. μοι Hermann, Earle 348. δέμαο χό
c6v VLP et gE: χό c6v δ - BO

90 91
 φυχηε άπαντλοίην άν. εν δ όνείραειν 9
visiting me in dreams, you might still bring me some
9
φοιτώεά μ εύφραίνοιε ά ν ήδύ yap φίλουε 355 cheer: for sweet it is, by night, to look on loved ones,
καν νυκτϊ λεύεεειν, δντιν άν παρήι χρδνον. 9
for as long as they may stay.
9
ει δ* 0ρφεωε μοι γλώεεα και μέλοε παρήν, If only I had Orpheus' words and music so as to
9
ώετ ή κόρην Δήμητροε ή κείνηε πόειν beguile Demeter's daughter or her spouse with songs,
ύμνοιει κηλήεαντά ε ίξ Αιδου λαβείν, 9 9
and so from Hades lead you back again, then down
κατήλθον αν, και μ ουθ 6 Πλούτωνοε κύων 9 9
$6ο there I'd have gone and neither Pluto's dog, nor 360
9
οΰθ ούπι κώπηι φυχοπομπόε αν Χάρων Charon, pilot of the dead, leaning on his oar, would
9
εεχ άν, πριν εε φώε εόν καταετηεαι βίον. have restrained me till on the shores of light I
αλλ* οδν Ικειεε προεδόκα μ , δταν θάνω, 9
re—established you. But as things are, expect me down
9 9
ΚΟΛ δώμ ετοίμαζ , ώε ευνοικήεουεά μοι. there when I, too, come to die; make ready our home,
εν τάίειν αύταϊε γάρ μ επιεκήφω κεδροιε 9 6
35 in hope of living there with me. And I will bid these
εοι τούεδε θειναι πλευρά τ εκτεΐναι πελαε 9 children to place me by you in this same cedar vault,
πλευροΐει τοΐε eoic* μηδέ γάρ θανών ποτέ to stretch my form by yours. For when I too have died,
εου χωρϊε είην τηε μόνηε πιετήε έμοί. I wish never to be apart from you, the only truly
Χο. και μην εγώ εοι πενθοε ώε φίλοε φίλωι faithful one to me.
λυπρον ευνοίεω τηεδε' καΐ γάρ άξια. 37<> CHOR. Be assured that I, as friend to friend, will join with
Αλ. ώ παΐδεε, αύτοί δη τάδ είεηκούεατε 9 you in bitter grief for this wife of yours. For she is 370
πατρόε λέγοντοε μή γαμεΐν άλλην ποτέ worthy of such grief.
9
γυνοΖκ εφ ύμΖν μηδ άτιμάεειν ε με. 9 A L . Children, you too have heard what your father said, that
Αδ. και νυν γέ φημι και τελευτήεω τάδε. he will not marry another wife over you and that he
Αλ. επι τοιεδε παΐδαε χειροε εξ έμήε δεχου. 375 will not dishonour me.
Αδ. δέχομαι, φίλον γε δώρον εκ φίληε χερόε. A D . And now again do I assert these promises, and will fulfil
Αλ. 9
ευ νυν γενοΰ τοϊεδ άντ εμού μήτηρ τέκνοιε. 9 them too.
Αδ. πολλή μ ανάγκη, εου γ 9
άπεετερημενοιε. 9 A L . O n these conditions, then, receive the children from my
9 9 hands.
Αλ. ώ τεκν , δτε ζην χρην μ , άπέρχομαι κάτω.
A D . I receive them — a dear gift from a hand that is also
Αδ. οϊμοι, τί δράεω δήτα εου μονούμενοε; $8ο
9 9 dear.
Αλ. χρόνοε μαλάξει ε ' ούδεν εεθ ό κατθανών.
A L . Then y o u are to be a mother to these children, in my
Αδ. άγου με εύν col, πρόε θεών, άγου κάτω.
place.
Αλ. άρκούμεν ήμεΐε οι προθνήιεκοντεε εέθεν.
A D . There's much need that I should, since they are
deprived of you.
355. ψίλουο V et gE: ψίλοιο BOLP: φίλω gV: φίλοο A L . Ο children, when I ought to go on living, I am going
Musgrave 358. ώοχ' ή Reiske: ώο τήν codd. down to the world of the dead.
362. έοχ άν Lenting (uel έοχεν): έοχον codd. A D . Alas, what then am I to do, with you gone from me? 380
b
371. αυτοΟ Matthiae 372. ποτέ LP: τ ι ν ά BOV et Z
ad 375 378. μ* Monk: y ' codd. 379. χρήν μ* Ο: A L . Time will ease your pain; the dead are as nothing.
χρή μ" BV: μ' έχρην L(P) A D . By the gods, take me with you, take me down below!
A L . It suffices that I die in place of you.

92 93
Αδ. ώ δαΐμον, οΐαε συζύγου μ* άποετερεΐε. A D . Unhappy fate of mine, of what a wife do you deprive
Αλ. και μην εκοτεινδν δμμα μου βαρύνεται. 8
35 met
Αδ. άπωλομην άρ*, ει με δή λείφειε, γύναι. A L . Now indeed darkness is settling down on my eyes.
Αλ. ώε ούκετ* ούεαν ούδεν αν λεγοιε εμί. A D . I am lost if you leave me, wife!
Αδ. δρθου πράεωπον, μή λίπηιε παΐδαε εεθεν. A L . You might speak of me now as no longer living.
Αλ. ού δήθ* εκούεά γ*· αλλά χαίρετ*, & τέκνα. A D . Lift up your face! Don't leave your children!
Αδ. βλεψον πρδε αύτούε, βλεφον. Αλ. ούδεν είμ* ετι. 39° A L . Not at all willingly do I do so. But farewell, dear
Αδ. τί Spate; προλείπειε; Αλ. χαΐρ*. Αδ. άπωλόμην children!
τάλαε. A D . Look at us! O h , only look at us! A L . I am alive no
Χο. βεβηκεν, ούκετ* εετιν *Αδμήτου γυνή. longer!
A D . What are you doing? Are you abandoning us? AL.
Farewell!
ΠΑΚ A D . I am ruined utterly!
ίώ μοι τύχαε. μαία δή κάτω [crp. CHOR. She has gone! The wife of Admetus is no longer.
ρερακεν, ουκετ εετιν, ω B O Y ( s i n g i n g ) Alas for my unhappy fortune! Mama has gone
πάτερ, ύφ* άλίωι, 395 down to the world below. No longer, dear father, does
προλιποϋεα δ* εμδν βίον ώρφάνιεεν τλάμων. she live beneath the rays of the sun, but in abandoning
|ί$€ yap ΐδε βλεφαρον και\ me has condemned me to a life of orphanhood! tLook,
παρατονουε χεραε. oh, look upon her eyes,t upon her hands, loosely
ύπάκουεον άκουεον, ώ ματερ, άντιάζω. 4°° hanging by her side. Hear, Ο hear me, mother, I
9 / 9 9 / «
beseech you! It's me, mother, your little one.t who is
εγω ε εγω, ματερ, calling on you and falling on yourt lips with kisses!
^καλούμαι δ εδε ποτι εοϊει πίτ- A D . You call upon her but she neither hears nor sees. And
vaivf ετόμαειν νεοεεάε. so both I and you two children have been struck by
Αδ. τήν ού κλύουεαν ούδ' δρώεαν ώετ* εγώ cruel disaster.
καΐ εφώ βαρείαι ευμφοράι πεπλήγμεθα. 4°5

η η
393 et 406 . Παίο Murray: εύμτίλοο codd. 398. numeri
incerti sunt 402-3 et 414-15. numeri incerti sunt
404. την <y*> Hermann

94 95
Πα. vfoc εγώ, πάτερ, λείπομαι φίλαε [άντ. BOY ( s i n g i n g ) I am left alone in my youth, father, bereft of
μονάετολάε τε ματρόε- ώ my dear motherl O h , what harsh events I have suffered!
εχετλια δή παθών And what harsh events you have suffered with me, dear 410
9
εγώ εργ , α ευ εύγκαεί μοι ευνίτλαε κούρα. 4 1 0
sister! <...> Vainly, vainly did you marry, father! You
< did not reach old age together with this wife of yours,
> ώ πάτερ, for she has died too soon! And with y o u gone, dear
9 9
άνόνατ άνάνατ ενύμφευεαε ούδε γήρωε mother, our house is utterly destroyed!
εβαε τίλοε εύν τάιδ'· CHOR. Admetus, you must bear this blow, for you are by
εφθίτο γάρ πάροε- οιχομεναε δε εου, no means the first of mortals nor, indeed, will you be
ματερ, δλωλεν οΐκοε. 4*5 the last, to have lost a noble wife. Realize, then, that it
is fated for all of us to die.
Χο. 9
"Αδμητ , ανάγκη τάεδε ενμφοράε φερειν AD. Indeed, I know this and not unexpectedly has the 420
ού γάρ τι πρώτοε ούδε λοίεθιοε βροτών present woe alighted on us: long before this have I been
γυναικδε ίεθλήε ήμπλακεε* γίγνωεκε δε oppressed with the knowledge of it. Stay now, for I will
ώε πάειν ήμίν κατθανειν δφείλεται. arrange the carrying—out of the body; while you wait,
Αδ. επίεταμαί τοι, κούκ άφνω κακδν τάδε 4 2 0
sing antiphonally a paean without libation to the god
προεεπτατ** είδώε δ αύτ* ετειρδμην πάλαι. 9
below. I bid all the Thessalians whom I rule to share in
άλλ', εκφοράν γάρ τούδε θήεομαι νεκρού, mourning for this woman with shorn hair and
πάρεετε καλ μενοντεε άντηχηεατε black—robed garb. A l l you who chariot—teams or single
παιάνα τώι κάτωθεν αεπονδον θεώι. steeds possess, take swords and sheer the horses' manes.
πάειν δε θεεεαλοΐειν ων εγώ κρατώ 45 2 And let there be no sound of flute or lyre throughout 430
πενθουε γυναικδε τήεδε κοινούεθαι λεγω the city for the wax and wane of twelve completed
κούροι ξυρήκει και μελαμπεπλωι ετολήΐ' moons. For never will I bury the corpse of any other
τεθριππά θ* οι ζεύγνυεθε και μονάμπυκαε one more dear, more loyal to me than this one. Worthy
πώλουε, ειδήρωι τεμνετ* αύχενων φοβην. in my eyes is she of honour, since she alone has died
9
in place of me.
αύλών δε μή κατ αετυ, μή λύραε κτύποε 43°
9
εετω εελήναε δώδεκ εκπληρουμεναε.
9
(Admetus a n d t h e c h i l d r e n go i n t o t h e p a l a c e , followed by
ού γάρ τιν άλλον φίλτερον θάφω νεκρδν
9 9 9
attendants c a r r y i n g t h e corpse o f Alcestis)
τοΰδ ούδ άμείνον εϊε Ι/χ'* άξία δε μοι
9
τιμήε, επει τεθνηκεν άντ εμού μόνη.

406. πάτερ λείπομαι LP: λ - π - BOV 409-10. £ p y \

ά ci) cvxyKOci μοι ουνέτλαο κούρα Willink (μοι hoc loco
iam Hermann): έργα cu τε μοι cOyxaci κ— cuv— fere
codd. (τ* έμοί LP) · 420. τοι Nauck: τ ε BOV (cf. 38):
b
y t LP 424. άοπονδον *Z : άοπόνδ6)(ι) codd. et Σ A .
Ch. 151 426. λέγω VLP: θέλω BO 427. μ ε -
4
λαμπέπλω(ι) LP et Β : μελαγχίμοιο πέπλοιο O(V)
428. θ* oC BOV: τε LP 433. τήοδ' Monk 434. τιμήο
LP: τιμάν BOV

96 97
Χο. ώ Πελιου θύγατερ, [crp. α CHOR. ( s i n g i n g ) Ο daughter of Pelias, may you fare well,
χοίρουεά μοι ειν Αιδα δάμοιειν 9
43$ dwelling in your sunless home in Hades' realm. And let
TOV άνάλίΟν ofcov θΙκετεύθΐε. Hades, the black-haired god, and also that ancient 440
9 9
ιετω δ Αίδαε 6 μελαγχαί- ferryman of the dead, who sits at his rudder—oar, know
ταε θεδε oc τ* €πί κώπαι that a woman by far the best of all is being carried in
πηδαλίωι τε γέρων 44° the two—oared bark across the Acherontian mere.
νεκροπομπδς ϊζει Often indeed will minstrels celebrate you in song,
πολύ δή πολύ δή γυναϊκ άρίεταν 9
extolling your glory both on the seven—toned mountain
λιμναν *Αχεροντίαν πορεύ- lyre and in hymns of praise for the voice alone, when
εαε Ιλάται δικώττωι. in due course at Sparta the season of the Carnean
month comes around, lit by the splendour of the 450
πολλά εε μουεοπολοι [άντ. α all—night moon, and at rich and prosperous Athens as
μελφουει καθ επτάτονδν τ ορείαν9 9
44*> well: such a theme of songs, Alcestis, have you in dying
9
χελυν εν τ άλύροιε κλεοντεε ύμνοιε, left to bards in days to come.
Οπάρται κυκλάε άνίκα Καρνεί- If only I had the power by rowing you over the
ου περινίεεται ώρα infernal flood to bring you from Hades' chambers, from
μηνάε, άειρομεναε 45° the streams of Cocytus, into the light of day. For you,
παννύχου εελάναε,
9 9
λιπαραιεί τ εν δλβίαιε Αθάναιε.
τοίαν ελιπεε θανοϋεα μολ-
πάν μελεων άοιδοΐε.

9 9 CT
εϊθ επ εμοι μεν εΐη, [ P» β
6
δυναίμαν δέ εε πέμψαι 45
9
φάοε εξ Αίδα τεράμνων
και Κωκυτοΐο ρεεθρων
ποτάμιοι νερτεραι τε κώπαι.

435. Πελία Monk 448. »α>κλάο Scaliger: κυκλοο fere

codd. (-o*c Β, - o c ' Ο) 449. ώρα BOP et Tr: ώρ*
L: ώρςε V: ώραο Hesych. 458. κωκυχοϊο L : ' —xoic Ρ:
που χε BOV ρεεθρων Β VP: ρείθρων L : φέθρων Ο
ΚωκυχοΟ χε ρεεθρων Matthiae, Κωκυχοΐό χε Ρείθρων
5
Hayley u. del. Hermann, Bothe (περιοοόο Τι )

98 99
 ευ γάρ, ώ μόνα ώ φίλα γυναικών, you alone, Ο dearest of women, had the courage, yes
εύ τον αύτάε the courage, to save your dear husband from Hades in
JfrAac <erAac> πόειν άντι εάε άμεΐφαι return for your own life. May the earth fall lightly on
φυχαε εξ "Αιδα. κούφα εοι you, dear woman. And if your husband should choose
χθών έπάνα>θε πεεοι, γύναι. ει δέ τι any new mate, then greatly would he be hated by me
καινόν έλοιτο πόειε λέχοε, ή μάλ' άν and by your children.
9
έμοιγ άν εϊη ετυγη- Φ5 Neither his mother nor his aged father was willing
θειε τέκνοιε τε τοΐε εοΐε. to hide their own bodies beneath the earth < . . . > ;
grey—haired though both are, they had not the heart to
ματέροε ού θελούεαε [άντ. β save their own son, the wretches! But you, in your
προ παιδόε χθονι κρύφαι springtime of life, went to your death, a young wife
δέμαε ούδε πατρόε γεραιού dying for a young husband. I wish that / could come
upon such a union with a loving wife! A rare possession
< >
9 in life is this. Then surely indeed she would be with me
δν ετεκον δ , ούκ έτλαν ρύεεθαι,
all her life long without causing me pain.
εχετλίω, πολιάν έχοντε χαίταν. 470
ευ δ* έν ήβαι
(Enter Heracles)
νέαι νέου προθανοΰεα φωτόε οϊχηι.
τοιαύταε εϊη μοι κνρεαι
H E R A C L E S Strangers, dwellers in this land of Pherae, will I
ευνδυάδοε φιλίαε άλόχου· το γάρ
find Admetus at home?
έν βιότωι επάνιον μεροε' ή γάρ άν
9 9
έμοιγ άλυποε δι αϊ- 475
ώνοε άν ξυνείη.

HPAKAHC
ξένοι, Φεραίαε τηεδε κωμηται χθονόε,
"Αδμητον έν δάμοιειν άρα κιγχάνω;

461. < έ τ λ α ο > Murray 464. K 6 C I C λέχοο LP: λ - π -

BOV 469. ante h.u. lac. indie. Canter δ* σοκ
BOV: ούκ L : κούκ Ρ ί>ύεοθαι BOV: φύοαοθαι LP
471. νέα νέου LP: νέο(ι) BOV 472. κΟροαι
Musgrave: κυρήοαι codd. 473. τό Erfurdt: τούτο codd.

100 101
Χο. εετ* iv δάμοιει Trace Φερητοε, Ηράκλειε. 1
CHOR. Pheres son is indeed at home, Heracles. But tell me
άλλ' είπε χρεία τιε εε θεεεαλών χθόνα what need brings you to the land of Thessalians and to
πέμπει, Φεραιον άετυ προεβήναι τδδε. Αβο approach this Pheraean city? 480
Ηρ. Τιρυνθίωι πράεεω τιν* Εύρυεθει πάνον. HER. I'm carrying out a labour for Eurystheus of Tiryns.
Χο. και ποι πορεύηι; τώι ευνεζευξαι πλάνωι; CHOR. Where are you bound for, then? What distant
Hp. θρηικδε τέτρωρον άρμα Διομήδουε μετά. wanderings must you endure?
Χο. πώε οΰν δυνήεηι; μών άπειρος εί ξένου; HER. F m after the four—horse team of Thracian Diomedes.
Hp. άπειροε· οΰπω Βιετάνων ήλθον χθόνα. 485 CHOR. How will you manage that? Or perhaps you don't
Χο. 9
ούκ εετιν ίππων δεεπάεαι ε άνευ μάχηε. know about your host?
Ηρ. αλλ* ouS* άπειπεΐν μην πονουε οίον τ ' εμοί. HER. I don't. I've not yet been to the land of the
Χο. κτανών αρ' ήξειε ή θανών αύτού μενεϊε. Bistonians.
Ηρ. ού τόνδ' αγώνα πρώτον άν δράμοιμ* εγώ. CHOR. Well, you won't get control of those horses without a
Χο. τί δ' αν κρατήεαε δεεποτην πλέον λάβοιε; 49° fight.
Ηρ. πώλουε άπάξω κοιράνωι Τιρυνθίωι. HER. But neither is it possible for me to refuse my labours.
Χο. ούκ εύμαρεε χαλινον εμβαλεΐν γνάθοιε. CHOR. Then you'll either kill and return or remain there
Ηρ. ει μή γε πυρ πνεουει μυκτήρων άπο. slain.
Χο. αλλ* άνδραε άρταμοΰει λαιφηραΐε γνάθοιε. H E R . Not for the first time would I be facing a contest on
Ηρ. θηρών δρείων χάρτον, ούχ ίππων, λεγειε. 495 these terms.
Χο. φάτναε ΐδοιε άν αϊμαειν πεφυρμεναε. CHOR. If you defeat the master of these steeds, what would 490
Ηρ. τίνοε δ* ο θρεφαε παϊε πατρδε κομπάζεται; it profit you?
Χο. "Αρεοε, ζαχρύεου θρηικίαε πελτηε άναξ. H E R . I'll lead the horses back to Tiryns' lord.
Ηρ. και τδνδε τούμοΰ δαίμονοε πάνον λεγειε CHOR. It won't be easy to cast a bit about t h e i r jaws!
(εκληρδε γάρ αίει και προε αίποε έρχεται), 5°° HER. Easy enough, unless from their nostrils they breathe
ει χρη με παιειν οίε *Αρηε εγείνατο
fire!
μάχην ευνάφαι, πρώτα μεν Λυκάονι,
CHOR. They make mincemeat of men with their slashing
9 jaws!
αύθιε δε Κύκνωι, τάνδε δ εοχομαι τρίτον
H E R . Fodder for wild beasts, not horses, you're talking of.
αγώνα πώλοιε δεεπάτηι τε ευμβαλών.
CHOR. If you look at their mangers, you'd find them all
b
fouled with blood.
479. χθδνα BOV: πόλιν LP et Z 480. φεραίον BOV H E R . Whose son does their owner claim to be?
et et Tr: φεραίων LP 482. ουνέζευζαι LP: CHOR. Son of Ares and master of the gilded Thracian
τ φ ο ο έ ζ - BOV et gE 487. μην πόνουο Dobree: μ' ήν
πόνουο L : πόνουο Ρ: xotc πόνοι c BOV et gE shield.
493. γε] χι gE, sicut coni. Nauck 501. π δ ο ι ν Wakefield H E R . A labour suited to my destiny you tell me of, for it is
always harsh and tends to go uphill, since I seem fated 500
to do battle with the sons whom Ares sired: first with
Lycaon, then with Cycnus, and now this third contest I
embark upon, in which both steeds and master I'll

102 103
 engage. Still, there's no man alive will ever see
Alcmene's son fleeing before the foeman's might.
άλλ* ούτιε εετιν δε τον 'Αλκμήνης γάνον 5°5 CHOR. Now here is Admetus himself, the ruler of this land,
τρέςαντα χείρα πολεμίαν ποτ* δφεται. coming out of the palace.
Χο. και μήν δδ* αύτοε τηεδε κοίρανοε χθονδε ( E n t e r Admetus f r o m t h e palace)
"Αδμητοε έξω δωμάτων πορεύεται. A D . Hail, scion of Zeus' and Perseus' blood!
Αδ. χαίρ'» ώ Διδε παΐ Περεέωε τ* άφ' αϊματοε. HER. Admetus, lord of Thessalians, I bid you too, rejoice! 510
Ηρ. "Αδμητε, και εύ χαίρε, θεεεαλών άναξ. $ιο A D . Well might I wish it! But I know you mean me well.
Αδ. θέλοιμ* αν εύνουν δ* δντα ε* έξεπίεταμαι. HER. What trouble do you mark by these shorn locks?
Ηρ. τί χρήμα κουραι τήιδε πενθίμωι πρέπειε; A D . I am going to bury a corpse on this very day.
Αδ. θάπτει* τιν* εν τήιδ* ήμέραι μέλλω νεκράν. HER. God keep this woe from your children!
Ηρ. άπ* ούν τέκνων εών πημονήν εΐργοι θεοε. A D . M y own begotten still live within the house.
Αδ. ζώειν κατ* οϊκουε παιδεε οΰε έφυε* έγώ. 5« 5 HER. Your father, if it is he who has perished, was, at any
Ηρ. πατήρ γε μήν ώραΐοε, εϊπερ οΐχεται. rate, well on in years.
Αδ. κάκεΐνοε εετι χή τεκοΰεά μ*, Ηράκλειε. A D . Yet he still lives and so too, Heracles, does she who
Ηρ. ού μήν γυνή γ* δλωλεν "Αλκηετιε εέθεν; bore me.
Αδ. διπλούε έπ* αύτήι μΰθοε εετι μοι λέγειν. HER. Surely, then, it is not your wife Alcestis who has
Η ρ. πάτερα θανούεηε εΐπαε ή ζώεηε έτι; 5 2 0 perished?
Αδ. εετιν τε κούκέτ* εετιν, άλγύνει δέ με. A D . Twofold is the story I might give of her.
Ηρ. ούδεν τι μάλλον 61δ** άεημα γάρ λέγειε. HER. Do you mean she's dead or still alive? 520
Αδ. ούκ οΐεθα μοίραε ήε τυχεΐν αύτήν χρεών; A D . She lives, and yet no longer lives, and this gives me
Ηρ. οΐδ*, αντί εου γε κατθανεΐν ύφειμενην. pain.
Αδ. πώε ούν έτ* εετιν, εΐπερ ήινεεεν τάδε; 55 2 HER. I'm none the wiser, for you speak in riddles.
Ηρ. &, μή προκλοΛ* άκοιτιν, έε τάτ* άμβαλού.
A D . Do you not know the fate which she must suffer?
Αδ. τέθνηχ* δ μέλλων κάνθάδ* ών ούκ έετ* έτι.
HER. I do, since in your place she has agreed to die.
A D . How then is she still truly living, since she has so
Ηρ. χο^ριε το τ* εΐναι και το μή vo/uc^CTat.
f agreed?
Αδ. εύ τήιδε κρίνειε, Ηράκλειε, κείνηι δ* έγώ.
HER. A h , don't mourn your wife in advance! Put that off
Ηρ. τί δήτα κλαίειε; τιε φίλων δ κατθανών; 53°
till the time comes.
Αδ. γυνή' γυναικδε άρτίωε μεμνήμεθα.
A D . One who is about to die is really dead already, and,
being so, exists no longer.
505. yovov BOVP et gE: χόκον L 506. πολεμίαν HER. 'Existence' and 'non—existence' are regarded as two
c
BOV<L> et gE: - ί ω ν Ρ et L 526. 6 μή L (fort, ά quite different things.
a c
μή L ) : ά ά μή BOV: & Ρ χ δ χ ' Wakefield: χ δ δ ' A D , Well, y o u view this in one way, Heracles, I in another.
codd. άμβαλού Nauck: άναβαλού codd. 527. κάνθάδ* HER. Why then are you mourning? Which of your friends is 530
ών ούκ £cx' έχι Jackson: χ" ώ θανών ούκ £cx' έχι L :
καΐ δ θανών ούκέχ* ccxiv Ρ: κούκέχ* έοθ* (έοχ Ο, it who has died?
έ ο χ ί ν V) δ καχθανών BOV et gV 531. γυναικδο A D . A woman. It is a woman we have been speaking of just
VLP: γυναικδο δ ' ΒΟ now.

105

104
Hp. όθνειοε ή εοι ευγγενής γεγώεά τιε; HER. Someone outside the family or someone actually kin to
AS. όθνειοε, άλλωε 8* t}v α ν α γ κ α ί α δέμοκ. you?
//p. πώε ούν iv οϊκοιε cotctv ώλςεεν 0tov; AD. Outside the family yet with close ties to this house.
i4S. 9
πατροε θανόντος ένθά8 ώρφανςύετο. 535 HER. How, then, has she come to die in your house?
f/p. ^€U. AD. When her father died, she was an orphan.
9
cW* ηύρομέν ς , "Α8μητε, μή λυπούμενον. HER. Well, I'm truly sorry. I wish, Admetus, that I had not
AS. 9
ώε δτ) τί 8ράεων TOVS ύπορράπτειε λόγον; found you in mourning.
Ηρ. ξένων προς άλλων έετίαν πορεύεομαι. AD. What action do you hint at by these words?
AS. ούκ εετιν, ωναξ' μή τοεόν8 έλθοι κακόν. 9
HER. P l l travel to the hearth of other hosts.
Ηρ. λυπουμένοιε όχληρός, ει μόλοι, ξένος. 54° AD. My lord, that cannot be! May such a dreadful thing not
AS. τεθναειν οι θανόντες* αλλ* ϊθ έε 8όμους. %
come to pass!
Ηρ. αιεχρόν (yc^ πάρα κλαίουςι θοιναεθαι ξένους. HER. A guest, if he should come at that time, is a burden 540
AS. 9
X<*>pic ξενώνέε ειειν οΐ ε έεάξομεν. to people in mourning.
Ηρ. μέθεε^ με καί cot μυρίαν έξω χάριν. AD. The dead are dead; now come into the house.
AS. ούκ έετιν άλλου ε* άν8ρόε έετίαν μολεΐν. 545 HER. For guest to feast next mourners is a shameful thing.
ήγοϋ εύ τώι8ε 8ωμάτων έξωπίουε AD. The guests' chambers where we'll lead you lie well
9
ξενώνας οιξαε τοις τ έφεετώειν φράεον apart.
είτων παρεΐναι πλήθοε, εύ 8ε κλήιεατε HER. Let me go on and I'll owe you a thousand thanks.
θύραε μεταύλουε* ού πρέπει θοινωμενουε AD. I won't hear of you going to another man's hearth. ( T o
κλύειν ετεναγμών ού8έ λυπειεθαι ξένουε. 55° a s e r v a n t ) You, there, conduct this guest and after
Χο. τί Spate; τοεαύτηε ευμφοραε προεκειμένηε, opening up the guest apartments well away from the rest
*Α8μητε, τολμαιε ξενο8οκεϊν; τί μώροε εΐ; of the palace, tell those in charge to provide a generous
AS. αλλ* ει δόμων εφε και πόλεωε άπήλαεα repast. Then close securely the doors leading to the
ξένον μολόντα, μάλλον άν μ έπήινεεαε; 9 courtyard. For it is not fitting that those who are
9
ού 8ήτ , έπεί μοι ευμφορά μεν ουδέν άν 555
feasting should hear lamentation nor that guests should 550
9 9 suffer any pain.
μείων έγίγνετ , άξενώτεροε 8 έγώ.

( E x i t H e r a c l e s , a t t e n d e d by t h e s e r v a n t )
537. ύπορράπχειο λόγουο Hesych. Υ 736, unde τούοδ'
c
...X6youc Wakefield 538. ξένων ΒΟ et L : ξείνων V : CHOR. Admetus, what are you doing? With so great a
ξένον LP άλλων BOV: άλλην LP 540. δχληρδο
disaster confronting you, can you endure entertaining
codd. et gV et Macar. 6. 83: δχληοτο gB: δχληρδν Dobree
542. <γε> Dobree: om. codd. et gVgBgE: < δ έ > Erfurdt, guests? How can you be so insensitive?
< x i > Elmsley ξένουο LP: ξένοιο gB: φ ί λ ο ι ο BV et A D . But if I had sent him away from the house and from
gVgE: φίλουο Ο ceterum παρ' άγχλαίουοι Dawe, the city, when he came as a guest, would you have
ccicxpbv ψίλοιο κλαίουοι θοινάοθαι f πάρα Tate praised me more? Surely not, for my misfortune would
546. τώδε Β: τώνδε OVLP 548. εύ England: έν codd. have been in no way less and I would have been
551. xocccOxnc LP: xotaOxric BOV προοκειμένηο
Wakefield: π ρ ο κ - codd.

106 107
 και πρδε κακοίειν άλλο TOUT* αν *Jjv κακόν, inhospitable as well. Then this would have been a
δόμουε καλεΐεθαι rove ίμούε εχθροξενουε. further evil, in addition to my present woes, that my
αύτδε δ* άρίετου τούδε τυγχάνω ξένου, house should be called hostile to guests. Besides, I find
οταν ποτ* "Αργουε διφίαν ελθω χθόνα. 560 this lord the best of hosts whenever at any time I go to
Χο. πώε ούν εκρυπτεε τον παρόντα δαίμονα, thirsty Argos. 560
φίλου μολόντοε άνδρδε ώε αύτδε λέγειε; CHOTl. How then did you come to hide your present
Αδ. 9
ούκ άν ποτ ήθεληεεν είεελθεΐν δόμουε, misfortune, when a man who is a friend, as you
ει τών έμών τι πημάτων εγνώριεεν. yourself say, has arrived?
και τώι μεν, οΐμαι, δρών τάδ* ού φρονεΐν δοκώ 565 A D . He would never have been willing to enter my house, if
ουδ* αινεεει με· τάμα δ* ούκ επίεταται he had known anything of my troubles. To one man or
9
μέλαθρ άπωθειν ονδ* άτιμάζειν ξενουε. another, I realize, I'll seem to be acting without good
sense, and such a man won't praise me for it. But
Χο. ώ πολύξεινοε και ελευθέρου άνδρδε άεί ποτ 9
these halls of mine simply do not know how to reject
οΐκοε, [crp. α or to dishonour guests.
9
C€ roc και δ Πύθιοε εύλύραε Απόλλων 57° CHOR. ( s i n g i n g ) Ο house always so hospitable, like its
ήξίωεε ναίειν, liberal master! Within your doors even Pythian Apollo, 570
ετλα δε εοΐει μηλονόμαε famed singer to the lyre, once deigned to dwell and to
εν νομοιε γενεεθαι, serve as shepherd in your fields, playing pastoral
δοχμιάν διά κλειτύων 575 mating—songs to the flocks along your gentle slopes.
βοεκημαει εοΐει ευρίζων Enchanted by your songs, Apollo, the spotted
ποιμνίταε ύμεναίουε. lynxer joined you in the fields. Then, leaving Mount
Othrys' glades, there next arrived a troop of tawny 580
εύν δ* εποιμαίνοντο χαράι μελεων βαλιαί τε mountain lions. The dappled fawn as well, delighting in
λύγκεε, [άντ. α your cheerful song, came dancing to the music of your
c
9
εβα δε λιπούε "Οθρυοε νάπαν λεόντων $&ο lyre, tripping on dainty foot beyond the pine—wood'.
ά δαφοινδε ΐλα· leafy foliage.
χόρευεε δ* άμφι εάν κιθάραν,
Φοίβε, ποικιλόθριξ
νεβρδε ύφικόμων πέραν 55
8

9
βαίνουε ελατάν εφυρώι κούφωι,
9
χαίρουε εύφρονι μολπάι.

558. έχθροξένουο LP: κακοξένουο BOV et gVgE

560. τιοτ' BOV: περ LP 568-9. πολυζείνου Purgold
(- gE) ελευθέρου Purgold: έλεύθεροο codd. et gE
574. νομοϊο Pierson: δδμοιο BOLP: δόμοιοι V
583. χόρευοε Monk: έχ— codd.: χόρευε Wecklein

108
 τοιγάρ πολυμηλοτάταν [crp. β With his flocks thus made most fertile our King
εετίαν οικεί παρα καλλίναον inhabits his domain by the sweet—flowing Bolbian
Βοιβίαν λίμναν. δρδτοιε ϋ γυαν 590 stream. To the west, toward the cloudy stables of the 590
και πεδίων δαπί&οιε δρον αμφι μεν sun—god's steeds, he sets tthe skyt over the Molossians
αελίου κνεφαίαν <...> as boundary for his ploughed fields and the
ίππόεταειν ^αιθέρα τ ά ν | Μολοε- broad acreage of his plains, while to the east he rules
εών < > τίθεται, as far as the harsh Aegaean coast around Mount Pelion.
πόντιον δ' Αιγαίον επ* ακτάν 595 And now, throwing open his doors, he receives a
αλίμενον Πηλίου κρατύνει. guest into his home, even as he weeps mourning the
corpse of his dear wife, but newly perished in his home.
και νυν δδμον αμπετάεαε [άντ. β For his noble nature is carried to an extreme of 600
δεξατο ξεΐνον νοτερωι βλεφάρωι, guest-reverence. Among good men, all things are
τάε φίλαε κλαίων αλδχου νεκυν εν possible: I admire their wisdom. Then in my heart sits
δώμαειν αρτιθανη- το yap εύγενεε 6oo confidence that all will go well for a god—fearing man.
εκφέρεται πρδε αιδώ.
9
εν τοΐε αγαθοΐει δε πάντ' ενε- (Admetus enters, leading Alcestis funeral procession)
ετιν εοφίαε αγαμαι.
πρδε δ* εμαι φυχαι θράεοε ήεται AD. Loyal assemblage of Pheraean gentlemen, the corpse has
θςοεεβή φώτα κςδνα πραξειν. 605 now received all the necessary preparations and the
attendants have raised it high to carry it to its last
Αδ. ανδρών Φεραίων εύμενήε παρουεία, resting place. Do you, then, as is customary, address the
νεκυν μεν ήδη πάντ' έχοντα πρδεπολοι dead woman, now departing on her final journey. 610
φερουειν άρδην πρδε τάφον τε και πυράν' CHOR. But look I see your father approaching, walking like
ύμεΐε δε τήν θανοΰεαν, ώε νομίζεται, the old man that he is. And I see his servants, too,
προεείπατ* εξιουεαν ύετάτην δδδν. 6ιο
carrying in their hands raiment for your wife, adornment
Χο. και μήν δρώ εδν πάτερα γηραιώι ποδι
for the dead.
ετείχοντ', δπαδούε τ* εν χεροΐν δάμαρτι εήι
κδεμον φερονταε, νερτερων αγάλματα. ( E n t e r Pheres, w i t h attendants carrying funeral gifts)

58Q. έοχίαν OVLP et TP: ο ι κ ί α ν Β 592. κνεφαίον

ΐΡ (cum αιθέρα iungens) 593. ίτιπόοχαοιν BLP:
vRdcxaciv OV 594. <όρέων> Bauer 595. δ '
b
BOV: χ ' LP et a i y a l o v et aiyaiQV* Z 603.
ante cocpiac dist. Dale: post cocpiac codd. et i P et (omlsso
άγομαι) gV 604. θράοοο Barnes: θάροοο codd. et gE
606. εν^ενηο Elmsley 608. πρδο LP: c i c BOV et
Eust. in 11. p. 707

110 111
ΦΕΡΗ€ PHERES I have come to mourn with you in your troubles,
ήκω κακοΐει εοΐει ευγκάμνων, τέκνον my son. For, as no one will deny, you have lost a
έεθλήε γάρ, ούδειε άντερεΐ, και εώφρονοε 615 noble and a right—thinking wife. Still, hard as it is, one
ywoiKOC ήμάρτηκαε. άλλά ταύτα μέν must bear these things. Now, please accept this tribute
φέρειν ανάγκη καίπερ οντά δύεφορα. of adornment and let it go beneath the earth with her.
δέχου δέ κοεμον τονδε και κατά χθονδε For it is right that this woman's body be honoured,
Γτω. το Taunyc €<υμα τιμόχβαι χρεών, since she died to save your life, my son, and allowed 620
ήτιε γ€ της εηε προύθανε φνχηε, τέκνον, 620 me not to go childless, nor to pine away deprived of
9
και μ ουκ απαιδ' εθηκεν ούδ* εϊαεε cot) you, in sad old age. And indeed she had made life
ετερέντα γήραι πενθίμωι καταφθίνειν, more illustrious for all womenfolk by daring to perform
πάεαιε δ* εθηκεν εύκλεέετερον βίον this noble deed. Hail, Ο lady who has saved this man,
γυναιξίν, έργον τλάεα γενναΐον τάδε. who has raised us up when we were in despair — and
ώ τονδε μέν εώεαε*, άνοχτηεαεα δέ 625 fare you well! May things go smoothly for you in the
ήμάο πίτμονταο, χαίρε, κάν *Αιδου δάμοιε house of Hades! I say that such marriages are profitable
εύ coi ycvotro. ψ^μί τοιούτοι* / ά μ ο ι κ for men — or, otherwise, it is not worthwhile to marry!
Avciv βροτοΐειν, ή γαμεΐν ούκ άξιον. AD. You have come uninvited by me to this burial and I
Αδ. ούτ* ήλθεε €c τένδ* έξ έμοΰ κληθειε τάφον don't include y o u r presence here with that of those I 630
love. This woman will never wear y o u r adornment, for
ούτ* έν φίλοιει εην παρουείαν λέγω. 630
in no need of anything from you will she be buried.
κοεμον δέ τον εδν ούποθ* ήδ* ένδύεεταΐ'
When I was in danger of perishing, then was the time
ού γάρ τι τών εών ενδεηε ταφηεεται.
you ought to have shown your sympathy. But no! You
τότε ξυναλγεΐν χρην ε* δτ* ώλλύμην έγώ*
kept out of the way and, old man though you are, let
εύ δ* έκποδών ετάε και παρείε άλλωι θανεΐν
another person, a y o u n g one, do the dying. And now
νέωι γέρων ων τάνδ* άποιμώξηι νεκράν; 635
%
you'll make your lamentations over this her corpse, will
ούκ ήεθ* άρ δρθώε τούδε εώματοε πατήρ,
you? Surely you could never really have been the father
ούδ* ή τεκεΐν φάεκουεα και κεκλημενη
%
of this body of mine, nor did the one who claims to
μήτηρ μ έτικτε, δουλίου δ* αφ* αϊματοε
have borne me and who is called my mother, really
μαετώι γυναικδε εηε ύπεβλήθην λάθραι. bear me. No, rather, born of slavish stock, I must have
εδειξαε ειε έλεγχον έξελθών δε εΐ, 640 been slipped secretly beneath your wife's breast. You
και μ* ού νομίζω παΐδα εδν πεφνκέναι. showed who you really were when you were put to the 640
ή τάρα πάντων διαπρέπειε άφυχίαι, test, and I don't believe I am your son. At any rate,
δε τηλικάεδ* ών κάπι τέρμ* ήκων βίου you most certainly surpass everyone in cowardice, seeing
ούκ ήθέληεαε ούδ* έτολμηεαε θανεΐν that, at the age you've reached, at the very end of your
του εού προ παιδάε, άλλά τηνδ* ειάεατε 645 life, you weren't willing and didn't have the courage to
γυναΐκ* δθνείαν, ήν έγώ και μητέρα die for your own son, but rather let this woman, no
blood relation, do so. She, then, is the only one whom
623. εύκλεέοτερον V : - τ α τ ο ν BOLP 635. άποιμώξηι I would justly regard as my true father and mother
Mattiae: - ξ ε ι ο LP: - ζ η ι ΒΟ: - ζ ε ι ο V 636-41. alios
alii del.

112 113
 και πατέρ* άν ένδικα* αν ήγοιμην μόνη ν. both. And yet by dying for your son, you would have
καίτοι καλόν y* αν τάνδ* άγων* ήγωνίεω met this challenge with glory, while the time you had
του cou προ παιδδε κατθανών, βραχνέ δέ coi left to live was altogether short. 650
πάντα* δ λοιπδε ήν βιώειμοε χρόνοε. 650 [And then both I and this woman would have
[κάγώ τ* άν εζων χηδε τον Λοιπόν χρόνον, lived out our time, and I would not now be left solitary
κούκ άν μονωθειε ίετενον κακοΐε ίμοΐε.] and groaning at my sorrows.] And yet you have
και μήν oc* άνδρα χρή πα0€Ϊν €υδαίμονα experienced whatever a happy man might expect to
πεπονθαε· ήβηεαε μεν iv τνραννίδι, experience. You enjoyed your vigorous years in power
παΐε δ* ήν εγώ εοι τώνδε διάδοχοε δόμων, 655 and then you had me, your son, as inheritor of your
ώετ* ουκ άτ€κνο€ κατβανών aAAoic δόμον royal house and so you weren't in danger of dying
λείφειν εμελλεε δρφανδν διαρπάεαι.
childless and leaving a house devoid of heirs for others
to pull apart. At least you certainly can't say that you
ού μήν ερειε γε μ* ώε άτιμάζοντα εδν
abandoned me because I dishonoured your old age,
γήραε θανεΐν προύδωκαε, δετιε αϊδόφρων
seeing that I've always shown the greatest respect
πρόε c* ή μάλιετα- κάντί τώνδέ μοι χάριν 66ο
towards you. And now this is the kind of grateful return 660
τοιάνδ€ και εν χή τεκονε* ήλλαξάτην.
9
the two of you have made me for this good treatment,
τοιγάρ φντεύων παΐδαε ούκετ άν φθάνοιε,
you and that mother of mine. So you'd better not wait
οι γηροβοεκήεουει και θανόντα εε
any longer to beget other children who'll tend you in
περιετελονει και προθήεονται νεκρόν.
your old age, and who will lay you out when you're
ού γάρ c* εγωγε τήιδ* εμήι θάφω χερί' 665
dead and have your body carried out. For I'll not bury
τεθνηκα γάρ δή τούπι ε*, ει δ* άλλου τυχών you, no, not with this hand! For I'm dead, as far as
camypoc auyac ειεορώ, κείνον λέγω you're concerned! Since it's by finding a n o t h e r saviour
και παΐδά μ* είναι και φίλον γηροτρόφον. that I'm still alive and see the light, I declare that I am
μάτην άρ* οι γεροντεε εύχονται θανεΐν, t h a t one's son and loving nurse of her old age! Idly do
γήραε φέγοντεε και μακρόν χρόνον βίον 670 the aged pray that they may die, cursing their old age
ήν δ* εγγνε ελθηι θάνατοε, ούδειε βούλεται and the long stretch of days. Once death comes near, 670
θνήιεκειν, το γήραε δ* ούκετ* εετ* αύτοΐε βαρύ. no one wants to die, and old age is no longer a
burden.
647. καί πατέρ* άν Weil: πατέρα τ* BOV: πατέρα τέ y*
LP: πατέρα τ ' άν Elmsley μόνην BOLP: έμόν V
651-2. del. Lenting: cf. 295-6 655. ή yeyte Nauck
b
658 άτιμάζοντα LP: άτιμάζων τ6 BOV et Z
b
659. προύδωκαο fere LP et Z : προύδωκά c ' fere BOV
665. τ ή ι δ ε μή Weil 670 πολύχρονον β ί ο ν (πολύν
χρόνον βίου coni. Meineke) Men. dist. Par. 50 Jakel (=
fr. 713 Kock) gVgBgE et Stob. 4. 52a. 1)
672. θνήοκειν VL(P) et gBgE et Stob.: θανεΐν BO et gV

114 115
 9
Χο. παύεαεθ , aAic yap ή παροΰεα ευμφορά· C H O R . No more! For the loss we suffer now is surely woe
ώ παϊ, πατροο δέ μή παροξύνηιε φρέναε. enough! Don't, my son, arouse your father's temper
Φε. ώ παί, τι'ν* α ύ χ Λ , πότ€ρα Λυδον ή Φρύγα 675 more!
Koucotc έλαύνειν άργυρωνητον εέθεν; PHER. Boy! What bought-in Lydian or Phrygian slave of
ούκ ofcfla θεεεαλόν μ€ κάπδ θεεεαλού yours do you think you're assailing with these insults?
πατρδε γεγώτα γνηείωε έλεύθερον; Know you not that I am a Thessalian, freely and
άγαν ύβρίζειε και νεανίαε λόγουε lawfully born from a Thessalian father? Your insults go
ρίπτων έε ήμαε ού βολών ούτως άπει. 68ο too far and you'll not get away with hurling these brash 680
iyai δέ c* οϊκων δεεπότην έγεινάμην taunts at me. I sired you and I brought you up to be
9
κάθρεφ , οφείλω δ* ούχ ύπερθνήιεκειν εέθεν- the lord of this house but I owe you no obligation to
9
ού γαρ πατρώιον τόνδ έδεξάμην νόμον, die for you as well! For I've received no ancestral
παίδων προθνήιεκειν πατέραε, ούδ* Ελληνικό*. mandate, nor any Greek law either, that fathers are to
εαυτώι γαρ είτε δνετυχήε εϊτ εύτυχήε 9
685 die for sons. You were born to your own fate, good or
έφυε- α δ* ήμών χρήν εε τυγχάνειν έχειε.
bad; as for o u r part, you have had your full due from
πολλών μεν άρχειε, πολυπλέθρουε δε εοι γύαε
us. You already rule much land, and I will leave you
many acres more, for I received the same from my
λείψω· πατρδε γαρ ταύτ* έδεξάμην πάρα.
9
father. How, then, have I wronged you? What do I
τί δήτά c* ήδίκηκα; του ε άποετερώ;
9
deprive you of? Don't do my dying for me and I won't 690
μή θνήιεχ ύπερ τοΰδ άνδρόε, ούδ* έγώ προ εου. Sgo
for you! y o u like to look upon the light; do you think
χοίρειε δρών φώε· πατέρα δ* ού χαίρειν δοκείε;
your father doesn't also? I reckon the time spent below
ή μήν πολύν γε τον κάτω λογίζομαι
is long enough, and short the time for living — but
χρόνον, τδ δέ ζην εμικρδν αλλ* δμωε γλυκύ. still, it's sweet! And what about y o u l To your shame
εύ γουν άναιδώε διεμάχου τδ μή θανεΐν you fought against dying and you now continue to live,
και ζήιε παρελθών τήν πεπρωμένης τύχην, 695 transgressing your own fated destiny, by causing this
%
ταύτην κατακτάε* εΐτ έμήν άφυχίαν woman who lies here to die. And then you talk about
λέγειε, γυναικόε, ώ κάκιεθ*, ήεεημενοε, my cowardice, when you, most base of all, were bested
ή του καλού εού προύθανεν νεανίου; in courage by your wife, who died for you, the fine
εοφώε δ* έφηύρεε ώετε μή θανεΐν ποτε, young husband! You've certainly made a clever discovery
ει τήν παρούεαν κατθανεΐν πείεειε άει ηοο how to avoid death if you're always going to persuade
γυναΐχ ύπερ εού· κάιτ* δνειδίζςιε φίλοιε your current wife to die for you! And then you blame 700
9
τοΐε μή θέλουει δράν τάδ , αύτδε ών κακόε; members of your own family for not being willing to do
9
είγα· νόμιζε δ , ει ευ τήν εαυτού φιλεΐε the same as she, when you yourself are so base! No
φνχην, φιλεΐν άπανταε· ει δ* ήμαε κακώε more from you! Only realize that, if y o u love yoar life,
έρεΐε, άκούεηι πολλά κού φευδή κακά. 7°5 everyone else loves his too! And if you revile us, you
will hear many revilements — and just ones, too —
674. ώ παϊ suspectum 679. άγαν BOVP et gBgE: άγαν against yourself as well!
μ* L : άγαν y ' gV 682. όψείλω δ ' BOV: όφείλων LP
688. χαυχ" Purgold: χαΟτ* codd. 689. ήδίκηκα BOV:
2
ήδίκηοα LP 697. ψέγειο ed. Heruag. (- gE)

-116 117
Χο. πλείω λέλεκται νυν τε και το πριν κακά* C H O R . Both now and before, too many insults have been
π ά λ α ι δέ, πρέεβυ, παίδα εδν κακορροθών. uttered. Cease, then, respected sir, from reviling your
9
Αδ. λέγ , ώε έμου λέξαντοε' ει δ* dAycic κλύων own son!
9
τάληθέε, ού χρήν c ειε έμ έξαμαρτάνειν. A D . No, go on talking but realize that I have had my say.
Φε. εού δ* αν προθνήιεκων μάλλον έζημάρτανον. γιο And even if it pains you to hear the truth, it still was
9
AS. ταυτόν yap ήβώντ άνδρα και πρέεβυν θανεΐν; not right for you to do this wrong to me.
Φε. φνχηι μιάι ζην, ού δυοϊν, δφείλομεν. PHER. I would have been much further wrong if I had died 710
AS. και μήν Δ toe γε μείζονα ζώηιε χρονον. for you.
Φε. άράι yovcuciv ουδέν έκδικον παθών; A D . Is it then the same thing for a young man and for an
AS. μακρού βίου γάρ ήιεθάμην έρώντά εε. 7*5 old man to die?
0€. αλλ* ου cu νεκρον αντί cou τόνδ* έκφέρειε; P H E R . Our due is one life's span, not two.
AS. 9
εημεΐα τηε εηε γ , ώ κάκιετ , άψυχίαε. 9
A D . Then may you live a longer life than even Zeus!
Φε. 9 9
ούτοι πρδε ήμών γ ώλετ ' ούκ ερεΐε τάδε. P H E R . You'd make this blasphemous prayer for your parents,
AS. φευ- when you've suffered no injustice from them?
9 9
είθ άνδρδε ελθοιε τούδέ γ εε χρείαν ποτέ. A D . Yes, for I've noticed your eagerness for lengthy days.
Φε. μνήετευε πολλάε, ώε θάνωει πλείονεε. 7 2 0
P H E R . But aren't you having this corpse carried out in place
AS. εοι TOUT* δν€ΐδοο* ou yap ήθελεε θανεΐν. of yourself?
Φε. φίλον το φεγγοε τούτο τού θεού, φίλον. A D . That is, rather, a proof of y o u r cowardice, you wretch!
AS. κακόν το λήμα κούκ εν άνδράειν τδ εάν. P H E R . It was not because of us, at least, that she perished.
Φε. ούκ εγγελάιε γέροντα βαετάζων νεκρον. You won't have the audacity to say t h a t \
AS. θανήι γε μεντοι 8υεκλεήε, δταν θάνηιε. 75
2 A D . Hah! I hope that some day you'll have need of help
Φε. κακώε άκούειν ού μέλει θανδντι μοι. from me!
Αδ. φευ φευ- τδ γήραε ώε άναιδείαε πλέων. P H E R . Go on and marry more wives, so that more may die! 720
Φε. 9
ήδ* ουκ αναιδή* τήνδ έφηΰρεε άφρονα. A D . It's just this matter of dying that's a reproach to you:
Αδ. άπελθε κάμε τόνδ* έα θάφαι νεκρον. for you were unwilling to die.
P H E R . Sweet, most sweet, it is to look upon this light of
day!
706. χό Wakefield: χά codd. 708. λέξανχοο VLP: A D . Base is your spirit and not worthy of a man!
Xxyovxoc ΒΟ: cf. ίΡ** λέγε ώο καΐ (hucusque Σ^: 6c P H E R . A t least you'll not be mocking an old man as you
6 b
TP ) έμοΟ KOXCOC έλέξαωχοο ( Z λέξανχοο 2* t 9

έλέγζονχοο cz λ έ ξ - recte L. Dindorf) 710. έ ξ - carry out a corpse.

fimxpxov άν Diggle 713. μείζονα Schaefer: μείζον* A D . You'll die at length, dishonoured when you die!
άν fere codd. et T? 716. χήνδ Dawe %
717 xiic P H E R . Evil report won't hurt me when I'm dead!
enc y \ ώ κάκιοχ* Herwerden: χήο cx\c ώ κάκιοχ* BOV: A D . Alas! How full of shamelessness, old age!
y* ώ κάκιοχε χαυχ* LP: y \ ώ κάκιοχε, cf\c Hermann, P H E R . ( i n d i c a t i n g t h e c o r p s e ) This one wasn't 'shameless.'
Bruhn 718. y* BOV: om. LP But you found her somewhat lacking in good sense.
A D . Be off! And let me bury this corpse alone!

118 119
 e
PHER. A l l right, I m going. You'll bury her then, being the 730
very one who slew her ... and to her kinsmen you've
Φε. άπειμι- βάφεις δ αύτδε ών αύτήε φόνευε, 9
73°
9
still to pay the penalty that's due. For, be sure of this,
δίκαε δε δώεειε εοΐει κηδεεταΐε έτι Acastus will no longer be counted among men if he fails
9 9 9
ή τάρ "Ακαετοε ούκετ εετ εν άνδράειν, to avenge on you his sister's blood.
9
ει μή ε άδελφήε αίμα n/uop^ccrcu. A D . Plague take you, now, you and that mate of yours!
Αδ. ερρων νυν αύτδε χή ξυνοικήεαεά εοι, Enjoy a childless old age, the two of you, though your
άπαιδε παιδδε δντοε, ώεπερ άξιοι, 735 son is living, as is your just desert! For you never again
9 9 9
γηράεκετ · ού γάρ τώιδ ετ έε ταύτδν ετεγοε will dwell under the same roof as m e l And if it were
9 9
νεΐεθ · ει δ άπειπεΐν χρήν με κηρύκων ύπο possible for me to renounce through heralds the paternal
τήν εήν πατρώιαν έετίαν, άπεΐπον αν. roof, then I would have done so.
ήμεΐε δε, τούν ποειν γάρ οίετέον κακόν,
ετείχωμεν, ώε άν εν πυράι θώμεν νεκρόν. 74° (Exit Pheres)
Χο. Ιώ Ιώ. εχετλία τόλμηε,
9
ώ γενναία και μεγ άρίετη, ( t o t h e a t t e n d a n t s ) Let us proceed then, for the woe
χαίρε- πρόφρων εε χθόνιόε θ Έρμήε 9
that is upon us must be borne, that we may give the
9
Αιδηε τε δεχοιτ . εΐ δε τι κάκεΐ 9
corpse its burial rites. 740
9
πλέον εετ άγαθοΐε, τούτων μετέχουε 9
745 C H O R . ( c h a n t i n g ) Alas! How steadfast in your courage! Ο
Άιδου νύμφηι παρεδρεύοιε. noble one, best of women, fare you well! May Hermes
of the dead and Hades receive you kindly! And if there
ΘΕΡΑΠΩΝ be anything further profit for good people in that other
πολλούε μεν ήδη κάπδ παντοίαε χθονδε world below, may you, as an attendant to Hades' bride,
ξένουε μολόνταε οΐδ έε Αδμήτου δόμουε, 9 9
partake of it.
9
οΐε δείπνα προύθηκ- άλλά τοΰδ ούπω ξένου
9
κακίον έε τήνδ έετίαν έδεξάμην. 9
75° (Exit Admetus followed by t h e C h o r u s , in funeral
δε πρώτα μεν πενθοΰντα δεεπότην δρών procession, w i t h attendants carrying t h e bier.)
9
έεήλθε κάτόλμηε άμείψαεθαι πύλαε.
9
έπειτα δ ούτι εωφρόνωε έδέξατο (Enter a Servant, from t h e palace)
τά προετυχόντα ξένια, ευμφοράν μαθών,
9
άλλ , ει τι μή φέροιμεν, ώτρυνεν φέρειν. 755 S E R V A N T (alone) Many guests have I known and served at
dinner who've come to Admetus* halls from all sorts of
Μ 2
places but none have I welcomed to this hearth as bad 750
734. έορων ΥΡΤΥ: έρροιο BOV et Σ7: έρρου L et Ρ : as this one. First of all, even when he saw my master
έρρο» ? ξύνοικοο οϋοά Hadley 735. άπαιδε grieving, he came right in and had the face to cross our
VLP: άπαιδεο Β: om. Ο 736. χ ώ ι δ ' έ χ ' Elmsley:
χώδ' f x ' LP: χδ(ι)δέ y ' BOV 746. π α ρ - BOV: threshold. And then he didn't, minding his manners, put
π ρ ο ο - LP 749. ξένον Dobree up with the fare which he happened to get, knowing the
trouble we were in here. O h no! If ever we failed to
supply something, he insisted on our bringing it. Then

121

120
 ποτήρα δ* X^ipcccif *icavov λαβών
he takes the i v y - c l a d cup tin his hands t and drinks
πίνει μελαίνηε μητρόε εΰζωρον μεθυ,
the black grape's child till its encircling fire enflames
εωε εθερμην* αυτόν άμφιβάεα φλόξ
him quite, and, singing raucously, garlands his head with
οίνου, ετεφει δε κράτα μυρείνηε κλάδοιε, myrtle fronds. Then you could hear two very different 760
άμουε* ύλακτών διεεά δ* μελη κλύειν γ6ο kinds of song. First there was t h a t one singing, paying
δ μεν γαρ ήιδε, τών εν *Αδμήτου κακών no heed at all to the troubles in Admetus' house, and
ούδεν προτιμών, οίκεται δ* εκλαίομεν then there were us servants, bewailing our mistress and
δεεποιναν, δμμα δ* ούκ εδείκνυμεν ξενωι yet not daring to show our weeping eyes to the guest,
τεγγοντεε* "Αδμητοε γαρ ώδ* εφίετο. for Admetus charged us not to. And now I keep
και νυν εγώ μεν εν δδμοιειν έετιώ 765 feasting this guest in the halls, some wretched thief or
ξένον, πανοΰργον κλώπα και ληιετήν τινα, mountebank, while she has gone, for the last time, from
ή δ' εκ δόμων βεβηκεν, ούδ* εφεεπόμην the house, and I wasn't able to follow after and stretch
ούδ* εξετεινα χειρ* αποιμώζων εμήν out my hand, bewailing my mistress who was indeed like
δεεποιναν, ή *μοι πάει τ* οίκεταιειν ήν a mother to me and to all the servants. For she was
μήτηρ· κακών γάρ μυρίων ερρύετο, ηηο always saving us from countless troubles, soothing the 770
δργάε μαλάεεουε* άνδρδε. άρα τδν ξένον master's temper—fits. A m I not right to hate this
ετυγώ δικαίωε, εν κακοΐε άφιγμενον; stranger then, who has arrived in the midst of all our
Η ρ. ούτοε, τί εεμνδν και πεφροντικδε βλεπειε; troubles?
ού χρή εκυθρωπδν τοΐε ξενοιε τδν προεπολον
είναι, δεχεεθαι δ* εύπροεηγόρωι φρενί. 775 (Enter Heracles, slightly d r u n k , f r o m t h e palace)
εύ δ* άνδρ* εταΐρον δεεπάτου παράνθ* ορών
ετυγνώι προεώπωι και ευνωφρυωμενωι HER. You, there, why are you looking so solemn and
δεχηι, θυραίου πήματοε επουδήν εχων. worried? Servants shouldn't s c o w l at guests but should
δεύρ* ελθ\ δπωε άν και εοφώτεροε γενηι. rather receive them with a courteous air. But y o u ,
τά θνητά πράγματ* f οΐδαε^ ήν εχει φύειν; ?Jo though it's a man who's a companion of your master's
οΐμαι μεν ου* πόθεν γάρ; άλλ* άκουε μου. you're looking at, you show him an unfriendly, frowning
countenance, just because you're mourning for someone
b v
not even in the family. Come here now, so that you
756. πσιήρα codd. et Z et gB ποτήριov δ* έν may be smartened up a bit! tD'you knowt what our
xepci Musgrave, ποτήρα δ* άγχάλαιοι Diggle mortal lot is all about? I think not, for how would you? 780
759. μυροίνηο Canter: - v o t e codd. 780. οίδαο BO VP
% Listen to me then!
et ΣΡ et gBgE: oicO' L : οίδαο, oicOoc, οίοθά y \ oic9
codd. ps.-Plut. mor. 107 Β: οίοθαο Dindorf ήνχιν'
%
ofc0 Blaydes

122 123
 βροτοΐε άπαει κατθανεΐν δφείλεται, A l l men must die and there isn't any man alive who
κούκ εετι θνητών δετιε ίξ€πίοταται knows if he'll live through the coming day. For the way
την αΰριον μέλλονταν εΐ βιώεεταν of fortune — how it's all going to turn out — is quite
τδ της τύχης γάρ άφανεε of προβήεεται, 785 obscure: it can't be taught or mastered by any art at
#eacr* ού διδακτόν ούδ* aAic#c€Tai τίχνηι. all. Well, then, now that you've heard and learned all
ταύτ' ούν άκούεαε και μαθών ίμοϋ πάρα this from me, cheer up, drink up, reckon life from day
9
εύφραινε εαυτόν, πίνε, τον καθ ήμεραν to day your own, the rest as fortune's! Honour
βίον λογίζου εάν, τά δ' αλλά τηε τύχηε. Aphrodite as absolutely the sweetest of all the gods for
τίμα δε και την πλεΐετον ήδίετην θεών 79° mortals. For that goddess is indeed most kindly. Forget
Κύπριν βροτοΐειν ευμενής γάρ ή θεόε. all else and just heed my advice — if indeed I seem to
τά δ' αλλ* cacov πάντα και πιθοΰ λάγοιε you to have got things right at all! / think I have.
εμοιειν, εϊπερ ορθά εοι δοκώ λέγειν. Then won't you dispel excessive grief and drink with us,
οΐμαι μεν. ούκουν την άγαν λύπην άφειε [decking yourself with wreaths and overcoming these
9
πίηι μεθ* ημών [τάεδ υπερβολών τύχαε, 795 misfortunes]? For well I know that the mad fit of the
ετεφάνοιε πυκαεθείε] ; και εάφ' οίδ' δθούνεκα wine—cup, when it has assailed you, will soon unmoor
του νυν εκυθρωποΰ και ξυνεετώτοε φρενών you from your sullen and clotted state of mind. Since
μεθορμιεΐ εε πίτυλοε εμπεεών εκύφου. we're but mortal, we should think mortal thoughts as
δνταε δε θνητούε θνητά και φρονεΐν χρεών well! And so, for all those pompous frowning types, life
ώε τοΐε γε εεμνοΐε και ευνωφρυωμενοιε 8οο — at least if you take me as a judge — isn't really life
άπαείν εετιν, ώε γ* εμοι χρήεθαι κριτηι, at all, but a disaster!
ού βίοε άληθώε δ βίοε αλλά ευμφορά. SERV. We know all about that. But just now our misfortunes
θε. επιετάμεεθα ταύτα· νυν δε πράεεομεν are such that neither feasting nor laughter is suitable.
ούχ οία κώμου και γελωτοε άξια. H E R . But the dead woman is from outside the family. Don't
Ηρ. γυνή θυραΐοε ή θανοΰεα' μή λίαν 805 grieve too much. For your master and mistress are still
πενθεί· δόμων γάρ ζώει τώνδε δεεπόται. alive.
θε. τί ζώειν; ού κάτοιεθα τάν δόμοιε κακά; SERV. What d'you mean, 'still alive'? Don't you know about
the troubles on this house?

785. ot BOV et gVgBgE: ού LP: άποβήοεται Lenting:

b v
cf. Z (τό στιοβαϊνον) 790-1. πλείστον...κύπριν
VLP: κύπριν...πλείστον ΒΟ 792. πάντα Markland:
ταΟτα codd. πίθου Monk: π ε ί θ ο υ BOVL:. πίθου Ρ
794. οίμαι μεν famulo trib. ΒΟ 795-6. τ ά ο δ ' . . .
πυκαοθείο del. Herwerden: cf. 829, 832 797. φρενών
LP: κάκου BOV et gVgE

124 125
Hp. ει μή τι εόε με δεεπότηε έψεύεατο. HER. Yes — unless your master has deceived me in some
θε. άγαν έκεϊνόε ccr* αγαν φιλόξενος. way.
Hp. 9
ου χρήν μ* δθνείου γ ούνεκ εύ πάεχειν νεκρού; 9
8ιο SERV. Far too guest—loving is that master mine!
θε. ή κάρτα μεντοι και λίαν όθνειοε ήν. HER. Was it wrong that I should be well treated just
Ηρ. μων ξυμφοράν τιν' oicav ουκ έφραζε μοι; because of the death of someone not of the family.? 810
θε. 9
χαίρων ΐθ ' ήμΧν δεεποτών μέλει κακά. SERV. A l l too surely was she "not—of—the—family"!
Ηρ. 9
δδ ού θυραίων πημάτων άρχει λόγοε. HER. Surely there wasn't some misfortune which he didn't
θε. ού γάρ τι κωμάζοντ αν ήχθόμην ε όρων. 9
815 tell me about?
Ηρ. 9 9
άλλ ή πέπονθα δείν ύπό ξένων έμών; SERV. Good—bye to you now! Our rulers' troubles are o u r
θε. ούκ ήλθεε έν δέοντι δέξαεθαι δόμοιε. affair.
[πένθοε γάρ ήμΐν έετί' και κουράν βλέπειε H E R . This speech does not arise from woes beyond your
μελαμπέπλουεετολμούε 9
τε. Ηρ. τιε δ δ κατβανών;] doors.
(Ηρ.) μων ή τέκνων τι φρούδον ή γέρων πατήρ; 820 SERV. No, for then your revelling would not vex me so.
θε. γυνή μέν ούν δλωλεν Αδμήτου, 9
ξένε. H E R . Then by my host have I been monstrously deceived?
Η ρ. τί φήιε; έπειτα δήτά μ έξενίζετε; 9 SERV. You came not at a fitting time to be received. [For
θε. 9
ήιδςΐτο γάρ εε τώνδ άπώεαεθαι δόμων. grief is on us now: shorn locks, black—robed attire you
Ηρ. 9
ώ εχέτλι , οΐαε ήμπλακεε ξυναόρου. look upon.]
θε. άπωλόμεεθα πάντεε, ού κείνη μόνη. 825 < H E R > [Who then has died?] Surely not one of the 820
Ηρ. 9
άλλ ήιεθόμην μεν δμμ ιδών δακρυρροούν 9 children or the aged sire?
κουράν τε και πρόεωπον άλλ έπειθέ με 9 SERV. Stranger, it is Admetus' consort who has died.
λέγων θυραΐον κήδοε έε τάφον φέρειν. H E R . What are you saying? And he still gave me hospitality?
9
βίοι δέ θυμού τάεδ υπερβολών πύλαε
SERV. Yes, for he was ashamed to thrust you out.
έπινον άνδρδε έν φιλόξενου δόμοιε, 830
H E R . Unhappy man! O f what a wife deprived!
SERV. We all have died, not she alone!
H E R . It's true, I d i d notice seeing his tearful eyes, his shorn
809. άγαν (prius) BOV: &yav y ' LP 810-11 del. Prinz hair and grieved expression. But he convinced me with
b v
811. όθνεΐοο Dale: ο ί κ ε ΐ ο ο VLP et Z : θυραϊοο BO his talk of bringing the body of someone outside the
815. xi...c* όρ&ν BOV: οε...δρ&ν LP (* όρών Ρ)
family to the tomb. Against my better feelings, I passed
817. δόμοιο BOV: δόμουο LP 818-19. del. KviSala cl.
j y ad 820 (ταύτα δέ χά χ ρ ί α έν x i c i v ούκ έ γ χ ε ι χ α ι ) , through his gates and sat carousing in the house of a
quam adnotationem coni. ad 818-19 tantum respicere, cum truly hospitable man who was suffering such a 830
819 duorum uu. instar in V scriptus sit .820. xt
2
φρούδον fi BO et V : χί ψρούδον y t v o c ή V : x i c (xic
ή Ρ) φρουδοο ή LP γέρων τιαχήρ VLP: π - y - ΒΟ

126 127
 np&ccovroc ούτω. κάιτα κωμάζω κάρα bereavement! And can I possibly go on revelling now,
ετεφάνοιε πυκαεθείε; άλλά cou το μή φράεαι, with my head covered in garlands? [to the servant] And
κακοΰ τοεούτου δώμαειν προεκειμένου. you! To think that you didn't tell me, when so great a
που και εφε θάπτει; ποΐ νιν εύρήεω μολών; trouble was on the house! Tell me, where is he burying
θε. 9
δρθήν παρ οΐμον ή *πι Λαρ'ιεαν φέρει 835 her? Where can I go and find her?
τύμβον κατδφηι ξεετδν εκ προαετιου. SERV. Along the direct road to Larisa, you will see, as you
Ηρ. ώ πολλά τλάεα καρδία και χειρ έμή, leave the city, a tomb with freshly polished stone.
νυν δειξον οίον παΐδά ε* ή Τιρυνθία
9 9
έγείνατ Ηλεκτρύωνοε Αλκμήνη Διί. 9
[Exit Servant]
δει γάρ με εάκαι τήν θανοΰεαν άρτίωε 840
9
γυναίκα κάε τονδ αύθιε ιδρΰεαι δόμον HER. ( a l o n e ) Ο hand of mine and much enduring heart,
9
"Αλκηετιν Αδμήτωι θ ύπουργήεαι 9
χάριν. now show what sort of son Tirynthian Alcmene,
9
έλθών δ ανακτά τον μελάμπτερον νεκρών Electryon's daughter, bore to Zeus! For I must save this
θάνατον φυλάξω, και νιν εύρήεειν δοκώ wife who has just died and repay Admetus' favour by
πίνοντα τύμβου πληείον προεφαγμάτων. 845 restoring Alcestis to this house again. I'll go now and
κάνπερ λοχαίαε αυτόν εξ έδραε ευθειε watch out for Death, that black-winged master of
μάρφω, κύκλον γε περιβολών χεροΐν έμαΐν,
corpses; I expect I'll find him near the tomb drinking
ούκ εετιν δετιε αυτόν εξαιρήςεται
the blood of sacrifices. And once I've run out from my
μογούντα πλευρά, πριν γυναικ έμοι μεθήι.
place of ambush and seized him and encircled him with
these strong arms of mine, there's no one alive who will
9
ήν δ ούν άμάρτω τήεδ άγραε και μή μοληι9
850
ever drag him thence, his lungs bursting for breath, till
πρδε αιματηρδν πελανόν, εΐμι των κάτω
9 he has yielded the woman up to me. But if I miss my
Κδρηε άνακτοε τ εΐε άνηλίουε δδμουε,
9 prey and he doesn't come for his feast of clotted blood,
αιτήεομαί τε και πέποιθ άξειν άνω
then I'll go down to the sunless home of Kore and her
"Αλκηετιν, ώετε χερειν ενθεΐναι ξένου,
lord. There I'll make petition and I trust that I'll bring
9
δε μ έε δδμουε έδέξατ ούδ άπήλαεεν,9 9
855
Alcestis up again, so as to place her in the hands of
καίπερ βαρείαι ευμφοραι πεπληγμενοε,
9
my host — that host who received me into his house
έκρυπτε δ ών γενναΐοε, αιδεεθειε έμέ.
and turned me not away, crushed though he was with
heavy grief. Rather, true to his nobility, he hid his grief
831. κάχα κωμάζω fere BOV: κάχ' έκώμαζον L(P) in reverence for me, his guest. Who of all Thessalians
833. προσκειμένου Scaliger: π ρ ο κ - codd. 834. ποΐ
Monk: ποΟ codd. 837. καΐ χ ε ί ρ VLP et gBgE et
Tzetz. chil. 2. 808: ψυχή χ" BO et gV 838. μ'
Tournier (~ gE et Tzetz. 809), sed cf. Med. 1244 seqq.
839. έ γ ε ί ν α χ ' 'Ηλεκχρύωνοο Gaisford: ήλεκχρύωνοο
γείναχ* codd. et Tzetz. 810 , 843. μελάμπχερον Mus-
bv
grave ex *Z : μελάμπεπλον codd.: cf. 262 846. Xoyaioc
(quod coni. Hartung) uoluit Et. Gen. ap. Miller m€\. p. 208
et ut uid. ypr* (\ox<o>tac Schwartz): Xotficccc codd. et
"ΣΎ 847. γε Diggle: δέ codd.: χε Nauck περιβολών
b v
BOV et Tr et Z : -βαλώ LP: -βάλω Monk

128 129
 TIC τοΰ8ε μάλλον θεεεαλών φιλόζενοε, is more hospitable than this man, who, indeed, even
ric Έλλάδ' οικών ; τοιγαφ ούκ ερει κακόν from all the homes in Greece? But, mark you, he shall
cucpyenjcai ^ωτα ycwaioc ycycoc. 86ο never say that, noble as he is, the man he favoured was
not noble too!
Λδ. ιώ,
cruyvai πρόσοδοι, ετυγναι δ' o^cic (Exit Heracles)
χήρων μελάθρων.
ιω μοι μοι, αιαι \ α ι α ι / . ( E n t e r Admetus followed by t h e C h o r u s , r e t u r n i n g f r o m t h e
ποι /3ώ; ποί οτώ; τί Λέγω; τί Si μή; funeral)
πώε αν όλοίμην;
ή βαρυδαιμονα μήτηρ μ* ετεκεν. 865 AD. ( c h a n t i n g ) Ο hateful approach, hateful sight of halls
ζηλώ φθιμενουε, κείνων εραμαι, bereaved! Alas, for my bitter fate, alas, <cry woe>!
κεΐν* επιθυμώ δώματα vaiciv. Where can I go now? Where tarry? What can I say?
ουτ€ yap auyac χαίρω προεορών Yet how keep silent? How might I be done with life?
ούτ* επι γαίαε πόδα πεζεύων For a grievous destiny indeed did my mother bear me. I
τοίον ομηρόν μ* άποευλήεαε Byo envy the dead; I yearn for them and long to inhabit
*Αι8ηι θάνατοε παρεδωκεν. their domains. For no longer do I delight in seeing the
rays of the sun or walking on the earth: such a hostage
Χο. πρόβα πρόβα, βάθι κευθοε οίκων. cr
[ P* α has Death robbed me of and handed over to Hades.
AS. αιαι. CHOR. ( s i n g i n g ) Proceed! Proceed you must! Into the
Χο. πεπονθαε αξι* αϊαγμάτων. innermost rooms of the palace!
AS. ε I. AD. O h grief!
Χο. 9
δι' όδύναε εβαε, εόφ οΐδα.
CHOR. ( s i n g i n g ) Your sufferings are worthy of lamentation.
AS. φευ φευ. ,
AD. Oh! Oh!
CHOR. ( s i n g i n g ) Through travail have you come; well do I
Χο. τάν νερθε δ' ουδέν ώφελεΐε. 875
know it!
^4δ. ίώ μοί μοι.
A D . Alas, alas!
Χο. τό μήποτ' εΙει8εΐν φιλίαε άλόχου
CHOR. ( s i n g i n g ) In no way are you helping the one beneath
πρόεωπόν c' εεαντα λυπρόν.
the earth ...
AD, Ο woe for my sad lot!
862. α ί α ϊ < a i a i > Hermann: 863. ποΐ (altemm) codd. e
CHOR. ( s i n g i n g ) Tis bitter indeed never to look upon your
et gB: πη Tr, ποΟ Wecklein 868. χαίρω προοορών dear wife's face again.
VLP et gB: χαίρων προοορώ BO et gV 872-7. choro
et Admeto trib. BOV: choro L : 872-5 (ad ιώ μοί μοι)
choro, 876-7 Admeto Ρ 875. νέρθε δ* Hermann:
νέρθεν codd. 877. V έοανχα Wilamowitz (iam c '
ένανχα Hartung): άνχα codd.

130 131
Αδ. έμνηεαε ο μου φρέναε ήλκωεεν· AD. ( c h a n t i n g ) It is that which has torn my heart out! For
τί γάρ άνδρι κακόν μείζον άμαρτεΐν what greater woe can befall a man than to lose a
πιετηε άλοχου; μήποτε γημαε 88ο faithful wife? I wish I had never married and lived 880
ώφελον οΙκ€Ϊν μετά τηεδε δδμουε. together with her. I envy those mortals who have no
ζηλώ δ' άγαμοι* άτεκνοικ Τ€ βροτών wife, no children; burden enough it is to suffer for one
μία γάρ φνχη, τηε ύπεραλγειν life alone! But to look upon one's children ill and on a
μετριον άχθοε. marriage—bed ravaged by death, that indeed is
παίδων 8k νάεουε και νυμφιδίουε 885 unbearable, when one could be childless and unmarried
εύνάε θανάτοιε κεραϊζομεναε all one's days!
ού τλητδν όράν, If όν άτέκνουο CHOR. ( s i n g i n g ) Misfortune hard to fight against has come
άγάμουε τ ' είναι διά τταντόο. upon you.
AD. Alas!
Χο. τύχα τύχα δυεπάλαιετοε ήκει. [άντ. α CHOR. ( s i n g i n g ) But you set no limit at all upon your 890
Αδ. αίαί. woes.
Χο. πέραε δέ γ* ουδέν άλγέων τίθηε. 8go AD. Oh! Oh!
Αδ. έ €. CHOR. ( s i n g i n g ) Woes grievous to bear, I know, but still ...
Χο. βαρέα μεν φέρειν, δμωε δέ... AD. Alas! Alas!
Αδ. φευ φευ. CHOR. ( s i n g i n g ) Bear up! You're not the first to have
Χο. τλάβ'· ού εύ πρΰττοε ωλεεαε... lost ...
Αδ. ίω μοί μοι. AD. O h , for my bitter woe!
Χο. γυναίκα· ευμφορά δ' έτέρουε έτέρα CHOR. ( s i n g i n g ) a wife. One disaster oppresses one man,
πιέζει φανειεα θνατών. another another. It is the mortal lot.
AD. ( c h a n t i n g ) O h grief and suffering unending, for loved
Αδ. ώ μακρά πένθη λΰπαί τε φίλων 895 ones below the earth! Why did you stop me from
των ύπδ γαίαε. hurling myself into the tomb's hollow grave and lying in
τί μ' έκώλυεαε ρΐψαι τύμβου death with her who is by far the best of wives? Then
τάφρον έε κοίλην και μετ' έκείνηε
τηε μεγ' άρίετηε κεΐεθαι φθίμενον;

880. nicxfjc BOLP et gBgE et Stob. 4. 22c. 79: φιλίαο V

883. xfjc Stob.4. 22b. 39: χήοδ' codd. et gVgE 887-8.
άχέκνουο dycqiouc BOV et gV: άχέκνοιο άγάμοιο LP
889-94. choro et Admeto trib. B: 889 (ad αίαί) choro,
890a (ad χίθηο) Admeto, 890b-891a (ad δέ) choro, cetera
recte V: oranes choro LP ' 896. yaiac Monk: yaiccv
codd. 898. κοινήν Hoefer

132 133
 δυο δ' αντί fitac "Αιδηε φυχάε goo Hades would have had two souls, instead of one, most
ταε mcroTarac cuv αν εεχεν, δμοΰ faithful to each other, crossing together the river to the
χθονίαν λίμνην διαβάντε. world below.
CHOR. ( s i n g i n g ) There was once someone in my family
Χθ. έμθί T4C ^ V [cTp. β whose only son, a youth whose loss was sorrow indeed
έν ycvci, ώι κόροε άξιόθρη- to bear, perished in his house. But still he bore his
voc ώλετ' έν δομοίαν 9°5 trouble equably, though he was childless and already
/xovoTraic* άλλ' έμπαε grey—haired and to his final days declining.
έφερε κακόν aAic, STCKVOC ών, AD. ( c h a n t i n g ) Ο form familiar of my house! How can I
πολισχ έπί χαίταε enter there or l i v e there now that my fortunes have
ήδη προπετήε ων gio taken such a plunge? Alas! For there has been so much
βιδτου τε πόρεω. in between. Then, midst pine—torches from steep
Pelion, midst wedding songs, I made my way, holding
Αδ. ώ €χήμα δόμων, πώε εΐεέλθω, fast the hand of my dear wife. And a company of
πώε δ' otK^cai, μεταπίπτοντοε revellers followed us, wishing us well, me and my wife
δαίμονοε; οϊμοι. πολύ γαρ τδ μεεον who is now dead, for we were a well—born couple, on
τότε μεν πεύκαιε εύν Πηλιάειν 915 both sides of noble stock. But now, lamentation instead
9
εύν θ ύμεναίοιε εετειχον εεω of marriage songs ushers me, clothed now in black robes
φιλίαε αλόχου χέρα βαετάζων, in place of white ones, to my empty widow's bed.
πολυάχητοε δ' είπετο κώμοε
9
τήν τε θανοΰεαν καμ δλβίζων
9
ώε εύπατριδαι καπ αμφοτέρων gao
δντεε αριετέων εύζυγεε εΐμεν·
νυν δ' ύμεναίων γόοε αντίπαλοε
λευκών τε πέπλων μέλανεε ετολμοι
9
πέμπουεί μ έεω
λέκτρων κοίταε έε έρήμουε. 952

901. ci)v άν έοχεν Lenting: ουνανέοχεν V<L>P:

ουνέοχεν (Β)Ο 913. δ ' LP: om. BOV 917. φιλίαο]
πιοχήο ΥΡΖΊ cf. 880 920. κάτι* L : καΐ cat' BOVP
921. άριοχέων Dobree: άρίοχων BOVL: - x a i c Ρ
ε ί μ ε ν Ο · , sicut coni. Heath: εχμέν BP: ήμεν V L

134 135
Χο. παρ* ευτυχή [άντ. β CHOR. ( s i n g i n g ) In the midst of a happy life, this woe has
εοι πδτμον ήλθεν άπειροκάκωι come upon you when you were quite unused to trouble.
τοδ* oAyoc* άλλ' εεωεαε Still, you have saved your own life, your own existence.
βίοτον και φυχάν. Your wife has died and broken the love which bound 930
έβανε 8άμαρ, έλιπε φιλίαν 93° you. What is new in this? Many men before this has
τί νεον τ68ε; πολλούε death separated from their wives.
ή8η παρελυεεν A D . Friends, I count my wife's lot happier than my own,
θάνατοε 8άμαρτοε. though it seems not to be. For no pain will ever touch
Α8. φίλοι, γυναικοε δαίμον εύτυχέετερον 9
935 her now, but rather with fair renown she has put an
τούμοΰ νομίζω, καίπερ ού δοκούνθ δμωε. 9
end to her many woes. Whereas I, who ought not to be
τηε μεν γάρ ούδεν άλγοε άφεταί ποτέ, living, who escaped what was my fate, will live a bitter
πολλών δε μόχθων εύκλεηε έπαύεατο. life. Now, too late, I understand. For how will I endure 940
9
εγώ δ , δν ού χρην ζην, παρειε τδ μδρειμον going into this house of mine? What delight in converse,
λυπρδν διάξω βίοτον άρτι μανθάνω. 94° back and forth, can I expect when I go in? Whither
9
πώε γάρ δόμων τώνδ ειεδδουε άνέξομαι; will I turn? The desolation within will drive me out
9
τίν άν προεειπών, του δε προερηθειε ύπο again, when I look upon the marriage—bed with my
9
τερπνηε τύχοιμ άν ειεδδου; ποΐ τρέφομαι; wife no longer in it, and the chairs on which she used
ή μεν γάρ ένδον έξελάι μ ερημιά, 9
to sit ... and dirty floors. throughout the house; and, all
9
γυναικοε εύνάε εύτ άν ειείδω κενάε 945 the while, the children falling about my knees keep
9
θρονουε τ εν οΐειν Χζε και κατά ετεγαε wailing for their mother and the servants, too, weep for
αύχμηρδν ούδαε, τέκνα δ* άμφι γούναειν the wonderful mistress whom they have lost from the
πίπτοντα κλαίηι μητέρ , οι δέ δεεπδτιν9 home. That is how things will be within the house. But 950
ετενωειν οϊαν έκ δομών άπώλεεαν. outside, Thessalian marriage—feasts and gatherings filled
9
τά μεν κατ οίκουε τοιάδ*· έξωθεν δέ με 95° with women will drive me indoors again. For I shall not
9
γάμοι τ ελώει θεεεαλών και ξύλλογοι be able to endure looking at young women of the same
γυναικοπληθεΐε· ού γάρ έξανέξομαι age as my wife. And if anyone happens to hold a
λεύεεων δάμαρτοε τηε έμήε δμήλικαε.
9
έρεΐ δέ μ δετιε έχθρδε ών κυρεΐ τάδε*

932. πολλουο Canter: πολλοί c codd. 939. χρή ν

l
Elmsley: χρή codd. 943. εξόδου Lenting (~ i y et gV)
948. κλαίη LP: κλαίει BOV 950. οίκουο LP: οίκον
%
BOV 951. χ* Wakefield: y fere codd. 954. κυρήι
Monk

136 137
 9
7δου τον αίεχρώε ζώνθ , oc ούκ ετλη θανεΐν 955 grudge against me, he'll say, "Look at that one there
άλλ' ήν εγημεν άντιδούο άφυχίαι who, to his shame, is still alive. He lacked the courage
9
πεφευγεν "Αιδην κάιτ άνήρ είναι δοκει; to die himself but, coward that he is, escaped Hades by
ετυγεΐ οε τούε τεκόνταε, αύτδε ού βέλων handing over his wife instead. Does he then seem to be
θανειν. τοιάνδε πρδε κακοΐει κληδδνα a man at all? And he even hates his own parents,
εξω. τι μοι ζήν δήτα κύδιον, φίλοι, οβο though he wasn't willing to die himself." That's the sort
κακώε κλύοντι και κακώε πεπραγδτι; of reputation I'll have among the baser sort. How then,
my friends, is it profitable for me to live, when I both 960
Χο. εγώ και δια μούεαε c r
[ P* α
fare so badly and hear such evil of myself?
και μετάρειοε ήιξα, και C H O R . ( s i n g i n g ) I have studied the poets, I have scaled the
πλείετων άφάμενοε λόγων heights of astronomical lore, I have pored over the
9
κρειεεον ούδεν Ανάγκαε 9°5 doctrines of the philosohers and have found nothing
ηύρον ούδε τι φάρμακον stronger than Necessity nor any cure for it in the
θρήιεεαιε εν εανίειν, ταε Thracian tablets of the poet Orpheus nor even in the
9
Ορφεία κατεγραψεν cures which Pheobus Apollo gave to the Asclepiads, 970
9
γήρνε, ούδ oca Φοΐβοε Α" 9 providing remedies for poor suffering mortals.
εκλψτιάδαιε έδωκε 97° Of this goddess, alone, there are no altars, no
φάρμακα πολυπόνοιε statue to approach: Necessity heeds no sacrifices. Dread
άντιτεμών βροτοΐειν. mistress, may you not come upon me more strongly
than in my life so far. Whatever Zeus decides, this,
9 9 with your agreement, he fulfils. You master by your
μόναε δ ούτ επι βωμούε [άντ. α
strength even the iron among the Chalybians; with 980
ελθεΐν ούτε βρεταε θεάε
reverence for none is your spirit adamant.
εετιν, ού εφαγίων κλύει. 975
μή μοι, πότνια, μείζων
ελθοιε ή τδ πριν εν βίωι.
και γάρ Ζεύε ότι νεύεηι
εύν εοϊ τούτο τελευτάι.
και τδν εν Χαλύβοιε δαμά- 980
ζειε εύ βίαι είδαρον,
ούδε τιε αποτόμου
λήματότ εετιν αΐδώε.

957. κάχ' LP: είχ* BOV 960. κερδιον Purgold (-

gVgE) 963. p6c μεχάροιοο Hermann 970. έδωκε
Musgrave: παρέδωκε(ν) codd. 978. όχι VLP: δχε ΒΟ
νεΟοη LP: νεύοει BOV

138 139
 καί ε* cv a^u#croic4 χερών είλε θεά δεεμοιε. [crp. β And it is you, Admetus, whom the goddess has
τόλμα δ'· ού yap £νά£ειε ποτ* ένερθεν cfift caught in her ineluctable bonds. Only endure. For not
κλαίων τούε φθιμένουε άνω. by weeping will you ever bring back to the land of the
και θεών εκάτιοι φθίνου- living those who have gone below. Even the offspring of
ει παίδεε εν θανάτωι. 99° the gods moulder in the darkness of death. We loved 990
^ίλα μεν δτ* ήν μεθ* ημών, her much when she was with us, much loved she still
φίλα δε θανοΰε* ετ' έεται, will be in death, that noblest of all wives whom you,
yewaioraTav δε παεάν Admetus, took into your nuptial bed.
έζεύξω κλιείαιε άκοιτιν. 994 Let your wife's tomb, Admetus, not be considered
as a burial mound of the departed dead. Rather, let her
μηδέ νεκρών ώε φθιμένων χώμα νομιζέεθω [άντ. β be honoured even as the gods are honoured, a source of
τύμβοε εάε άλόχου, θεοΐει δ* δμοίωε 997 reverent awe for passing wayfarers. Then he who treads
τιμάεθω, εέβαε έμπδρων. the sloping path will say, T h e woman buried here once 1000
καί τιε δοχμίαν κέλευ- ιοοο died for her husband and now a blessed spirit is! Hail,
θον έμβαίνων τάδ* έρεΐ' sweet lady, and may you bring good luck upon us!"
Αύτα ποτέ προύθαν* άνδρδε, With such words as these will men address her.
νυν δ' έετι μάκαιρα δαίμων And now, as it seems, this is Alcmene's son who
χαιρ*, ώ πότνι, εύ δέ δοίηε. is coming towards your house.
τοΐαί νιν προεεροΰει φημαι. 1005
(Enter Heracles, leading a veiled woman)
— και μήν δδ*, ώε έοικεν, *Αλκμήνηε γόνοε,
"Αδμητε, πρδε εήν έετίαν πορεύεται. HER. A man should speak frankly to his friends, Admetus,
Ηρ. φίλον πρδε άνδρα χρή λέγειν έλευθέρωε, and not cherish grievances in his heart by keeping quiet.
"Αδμητε, μομφάε δ' ούχ ύπδ επλάγχνοιε έχειν I thought it right to be tested as a friend standing by 1010
ειγώντ*. έγώ δέ εοιε κακοΐειν ήξίουν ιοιο you in your troubles. But yet you didn't tell me that it
έγγύε παρεετώε έξετάζεεθαι φίλοε' was your wife's corpse that was laid out; instead, you
εύ δ' ούκ έφραζεε εήε προκείμενον νέκυν
welcomed me into your house, letting me understand
γυναικοε, άλλά μ* έξένιζεε έν δόμοιε,
that you were mourning for someone not in the family.
ώε δή Ουραίου πήματοε επουδήν έχων.

992. θανονκΓ έχ* έοχαι Prinz: GavoOc' έοχαι ΒΟ: και

θανοϋο* έοχαι V et gE: καί θανοϋο' έ ο χ ί ν LP ( - ο ά
έ ο χ ι ν Ρ): έχι real GavoOca praeeunte Aldina Portus
1001. έμβαίνων BOV: έ κ β - LP 1005. xoiaic...
φημαιc Dobree, χοίαι...φημαι Broadhead ψδμαι Monk
1014. del. Lachmann: cf. 778

140 141
 κάετεφα κράτα καϊ θεοΐε έλειφάμην 1015 And so, in your bereaved, unhappy home, I garlanded
επονδάε cv oiicotc δνανχοϋει τοΐει coic. my head and poured libations to the gods. I chide you,
και μέμφομαι μεν, μέμφομαι, παθών τάδε* yes, chide you, for letting me go on like this. Still, in
ού μήν εε λυπεΐν έν κακοΐει βούλομαι. the midst of your troubles, I don't wish to cause you
9
ών 5' ουνεχ* ήκω δεύρ ύποετρέφαε πάλιν further pain. I ' l l tell you why I've turned back here
9
λέξω γυναίκα τήνδε μοι εώεον λαβών, ιοαο again. Take and keep this woman for me until, after 1020
έωε άν ΐππουε δεύρο θρηικίαε άγων killing the ruler of the Bistonians, I come back here
έλθω, τύραννον Βιετόνων κατακτανών. leading the Thracian mares. And if I should fare as I
πράξαε δ' δ μή τύχοιμι (νοετήεαιμι γάρ) hope I may not (for I pray I may come back alive!) I
δίδωμι τήνδε εοΐει προεπολεΐν δόμοιε. give you this woman to serve your house. It cost me
πολλώι δέ μόχθωι χεΐραε ήλθεν εϊε έμάε· 1025 some effort to get possession of her: for I came across
άγώνα γάρ πάνδημον εύρίεκω τινάε some people holding public games, a worthy contest for
TitfcWac, άθληταϊειν άξιον πόνον, athletes, and it's from there I bring this woman after
όθεν κομίζω τήνδε νικητήρια winning her as a spoil of victory. For those winning the
λαβών, τά μεν γάρ κούφα τοΐε νικώειν ήν lighter events, there were horses for prizes, but for the
ιππουε άγεεθαι, τοΐει δ' αδ τά μείζονα 1030 major contests, boxing and wrestling, there was a herd 1030
νικώει, πυγμήν και πάλην, βουφόρβια- of oxen — and a woman went along with this prize.
γυνη ο επ αυτοιε ειπετ · εντυχοντι οε Since I happened to be on the spot, it would have been
9
αίεχρδν παρεΐναι κέρδοε ήν τόδ εύκλεέε. a shame for me to forego this glorious gain. But, as
άλλ', ώεπερ εΐπον, εοι μελειν γυναίκα χρή' I've said, you must look after this woman, for I've
ού γάρ κλοπαίαν άλλά εύν πόνωι λαβών 1035 brought her not as stolen goods but as something won
9
ήκω· χρόνωι δέ και εύ μ αίνέεειε ιεωε. by the sweat of my brow. And in time, perhaps, you'll
Αδ. 9
ούτοι ε άτίζων ούδ' έν αίεχροΐειν τιθείε even come to praise me.
9
έκρυφ έμήε γυναικδε άθλίουε τύχαε. . It was with no intention of dishonouring you or putting
9
άλλ' άλγοε άλγει τούτ άν ήν προεκείμενον, you in any invidious position that I hid from you the
9
ει του πρδε άλλου δώμαθ ώρμήθηε ξένου- 1040 sad misfortune of my wife. Rather, it would have been
άλιε δέ κλαίειν τούμδν ήν έμοι κακόν. a woe added to the present one, if you had set out for
the house of another host. It was sufficient that I 1040
should mourn my loss by myself. But as for this woman,
1017. μέν BOV et gE: δή L : δέ Ρ 1018. λυπεΐν
< y > Monk (- gE) 1024. προοπολείν BOV:
πρόοπολον LP 1025. πολλών δέ μόχθων ήλθε· χείραο
t i c έμάο LP 1027. πόνον V : πόνων ΒΟ: πόνου LP
1029. λαχών Ο 1036. μ' BOVQ: y ' LP 1037. άτίζων
Q, sicut coni. Scaliger: άτιμάζων BOVLP aicxpoici(v)
LPQ: εχθροίci(v) BOV ( έ - V ^ , α ί - V) 1038.
άθλίουο ΒΟ: - ί ο υ VLPQ 1040. ε ί του BO(V)Q:
ε ί π ε ρ LP

142 143
 γυναίκα δ , ει πακ έετιν, αιτούμαι c', ανα£,
9
lord, I beg of you, if it is at all possible, bid some
άλλον τιν' ocTiC μή πέπονθεν οΓ cyo> other one of the Thessalians, who has not suffered in
εώιζειν άνωχθι θεεεαλών πολλοί δέ cot the way that I have, to keep her. For you have many
ξένοι Φεραίων μή μ άναμνήεηιε κακών. 9
1045 guest—friends among the men of Pherae. Don't remind
ούκ αν δυναιμην τήνδ ορών έν δώμαειν 9
me of my woes. For I would not be able to restrain my
άδακρυε είναι* μή νοεούντί μοι νόεον tears if I saw this woman in my home. Don't add this
προεθήιε* άλιε γάρ ευμφοραι βαρύνομαι, to my troubles when I am sick with grief: I am already
9
που και τρέφοιτ αν δωμάτων νέα γυνή; burdened with enough misfortune. And besides, where
νέα γάρ, ώε έεθήτι και κόεμωι πρέπει. 1050 would a young woman be kept in my house? For she i s
9
ποτέρα κατ ανδρών δήτ ένοικήεει ετέγην;9
young, as her clothing and adornment show. Is she to 1050
και πώε άκραιφνήε έν νέοιε ετρωφωμενη be sheltered under the same roof as the men? How then
9
έεται; τδν ήβώνθ , *Ηράκλειε, ού ράιδιον will she remain pure, wandering about amongst the
εΐργειν έγώ δέ εου προμηθίαν έχω. young men? For it's not a very easy matter, Heracles,
ή τήε θανούεηε θάλαμον έεβήεαε τρέφω; 1055 to restrain a vigorous young man: I have some concern
καί πώε έπεεφρώ τήνδε τώι κείνηε λέχει; for y o u in this matter. A m I then to bring her to my
διπλήν φοβούμαι μέμφιν, έκ τε δημοτών, wife's chamber and keep her there? But how can I
9
μή τιε μ έλέγξηι τήν έμήν εύεργέτιν possibly let her on to her bed? In this I fear a double
9
προδδντ έν άλληε δεμνίοιε πίτνειν νέαε, censure: one from the townspeople, lest anyone should
και τήε θανούεηε (άξια δέ μοι εέβειν) ιοβο accuse me of betraying my benefactress by falling into
πολλήν πρδνοιαν δει μ εχειν. εύ δ', ώ γύναι, the bed of another young woman — and I must also
9
ήτιε ποτ εΐ εύ, ταδτ' εχουε Αλκήετιδι 9 9 take much thought for my dead wife as well, for she is
9
μορφήε μετρ ιεθι, και προεήϊξαι δέμαε. indeed worthy of my respect. And as for you, lady, 1060
οϊμοι. κόμιζε πρδε θεών έξ ομμάτων whoever you are, know that you have the same figure
γυναίκα τήνδε, μή μ έληιε ήιρημενον. 9
1065 as my wife and that in stature you are like her too!
δοκώ γάρ αυτήν εΐεορών γυναιχ δραν Alas for my misery! ( t o H e r a c l e s ) By the gods, I beg
έμήν θολοί δέ καρδίαν, έκ δ ομμάτων 9 you, take this woman from my sight! Don't destroy still
πηγαι κατερρώγαειν. ώ τλήμων έγώ,
further one who is already shattered! When I look at
her, I think I'm seeing my own wife again. She disturbs
ώε άρτι πένθουε τούδε γεύομαι πικρού.
9 my heart, tears burst from my eyes - Oh, unhappy
Χο. έγώ μεν ούκ έχοιμ άν εύ λέγειν τύχην IOJO
wretch that I am. How now, at last, I fully taste my
χρή δ', ^ r i c έετί, καρτερεΐν θεού δόειν.
bitter woe!
C H O R . I could hardly speak approvingly of how things have 1070
1048. συμφορά VLPQ: - α ΐ ο ΒΟ 1052. ν έ ο ι ο VLPQ et turned out; however, we must accept whatever the god
Σ*>: δόμοιc ΒΟ 1059. άλληο LP: άλλοιc BOVQ gives us.
1061-3. del. Wheeler 1064. έζ BOV: ά π ' LPQ
1071. flxic έοτί Earle (iam flxic Nauck, έοτί Tyrwhitt):
dcxic ε ί c\> codd. (ου om. L) et gE

144 145
Hp. €4 γάρ τοεαύτην δύναμιν εΐχον ώετε εήν HER. If only I had such great power as to bring your wife
έε φώε πορεΰεαι νεοτέρων έκ δωμάτων back to the light from the realms below and to bestow
γυναίκα καί εοι τήνδε πορευναι χάριν. this favour on you!
Αδ. εάφ* οΐδα βούλεεθαί ε* άν. άλλά που τάδε; 1075 A D . I know well that you'd like to! But what is the good of
ούκ εετι τούε θανδνταε έε φάοε μολεϊν. such wishes? It's not possible for the dead to come back
Ηρ. μή νυν ύπέρβαλλ* άλλ* έναιείμωε φέρε. to the light of day.
Αδ. ραιον παραινεϊν ή παθόντα καρτερεΐν. HER. Don't, now, carry on too much but bear your lot with
Ηρ. τί δ* άν προκόπτοιε, ει θέλειε act ετενειν; moderation.
Αδ. έγνωκα καύτόε, άλλ* έρωε τιε έξάγει. ιοβο A D . It's easier to advise than, when you've actually suffered,
Ηρ. τδ γάρ φιλήεαι τδν θανάντ* άγει δάκρυ. to endure.
Αδ. άπώλεεεν με κάτι μάλλον ή λέγω. HER. But what good would it do you, if you always go on
Ηρ. γυναικοε έεθλήε ήμπλακεε* τιε άντερεΐ; grieving?
Αδ. ώετ* άνδρα τόνδε μηκέθ* ήδεεθαι βίωι. A D . No good, I know, yet a kind of passion for grieving 1080
Ηρ. χρδνοε μαλάξει, νυν δ* έθ* ήβάεκει, κακδν. 1085 drives me on.
Αδ. χρόνον λέγοιε άν, ει χρδνοε τδ κατθανεΐν. HER. Yes, for to love the dead brings tears.
Ηρ. γυνή εε παύεει καί νέοι γάμοι πόθου. A D . By her death, she has destroyed me even more than I
Αδ. είγηεον οίον εΐπαε. ούκ άν ώιόμην. can say.
Ηρ. τί δ ' ; ο υ γαμειε γάρ άλλά χηρεύεηι λέχοε; HER. You have indeed lost a noble wife. Who will deny it?
Αδ. ούκ εετιν ήτιε τώιδε ευγκλιθήεεται. logo A D . And so this husband shall enjoy life nevermore.
Hp. μων τήν θανούεαν ώφελεΐν τι προεδοκάιε; HER. Your loss is now still fresh but time will soften it.
Αδ. κείνην δπουπερ εετι τ ι / i a c f t n χρεών. A D . Time? Well, yes, perhaps - if time means death.
Ηρ. αινώ μεν αινώ· μωρίαν δ ' δφλιεκάνειε. H E R . A woman and a new marriage will put an end to that
[Αδ. ώε μήποτ* άνδρα τόνδε νυμφίον καλών. longing.
Ηρ. έπήινεε* άλόχωι πιετδε ούνεκ* εΐ φίλοε.] 1095 A D . Hush! What a dreadful thing to say! I would never have
expected it of you.
H E R . Why? Do you mean you won't marry but will always
1077. ύπέρβαλλ* Monk: - β α λ ' ΒΟ: - β α ι ν ' VLPQ et keep a widower's bed?
'ΣΥ: cf. Σ? μή νυν ύπερβαλλόνχωο φέρε A D . There's no woman alive who'll ever lie with me. 1090
1079. θέλοιο Ηη (~ Chrysippus [SVF ui fr. 478] ap. Galen,
HER. Surely you don't think that this helps your dead wife
plac. p. 278 de Lacy) 1080. x i c Chrys.: x i c μ' codd.
1085. μαλάζει OLPQ et Chrys. (SVF iii fr. 482) ap. Galen, in any way?
plac. p. 284 de Lacy: μαλάξει cc fere BV et gVgE ( c ' Β A D . Wherever she is, it is right that she be honoured.
et gV): cf. 381 ήβάοκει Chrys.: ήβδ(ι) coi codd. et H E R . I grant you full share of praise. But I think you're
(gV)gE 1087. νέοι γάμοι F.W. Schmidt: νέου γάμου being rather foolish.
codd. et gE: νέοο γάμοο Guttentag πόθου Guttentag: πόθοι [AD. Understand, at any rate, that you will never again call
BOV et gE: πόθοο LPQ 1089. χηρεύοη λέχοο BOV this man a husband.
( - ο ε ι BO): χηρεύειο μόνοο LPQ 1094-5. del. HER. I praised you because you are a faithful friend to your
Wilamowitz wife.]

146 147
 9
Αδ. θάνοιμ έκείνην καίπερ ούκ ούεαν προδούε. AD. May I die if I ever betray her, even though she is
Ηρ. δέχου νυν είεω τήνδε γενναίωε δόμων. dead.
Αδ. μή, πρόε εε του επείραντοε άντομαι Διόε. HER. Now, true to your noble ways, receive this woman into
Ηρ. και μήν άμαρτήεηι γε μή δράεαε τάδε. your house.
Αδ. και δρών γε λύπηι καρδίαν δηχθήεομαι. ι ιοο AD. Don't, I beg you by the great god Zeus who sired you,
Ηρ. πίθου- τάχ άν γάρ εε δέον πέεοι χάριε. don't ask this!
Αδ. φεύ- HER. And yet you'll be making a great mistake if you don't
9
εϊθ έξ άγώνοε τήνδε μή λαβέε ποτε. 9
do what I ask.
Ηρ. νικώντι μεντοι και εύ ευννικάιε έμοί. AD. But if I do, all my deep feelings will be outraged. 1100
Αδ. καλώε έλεξαε- ή γυνή δ* άπελθέτω. HER. Give in: this favour to me may turn out what is right
Ηρ. άπειειν, ει χρή- πρώτα δ* ει χρεών άθρει. ι105 for you.
Αδ. χρή, εου γε μή μέλλοντοε όργαίνειν έμοί. AD. Alas! I wish you'd never won this woman at the games!
Ηρ. είδώε τι κάγώ τήνδ έχω προθυμίαν. 9
HER. Yet, when I'm victorious, surely you too share my
Αδ. νίκα νυν- ού μήν άνδάνοντά μοι ποιειε. victory!
Ηρ. 9 9 9
άλλ έεθ δθ ήμαε αίνέεειε- πιθοΰ μόνον. AD. I do, of course. Still, let the woman go away.
Αδ. 9
κομίζετ , εΐ χρή τήνδε δέξαεθαι δόμοιε. ΙΙΙΟ HER. She'll go, if she really must. But first, be sure if she
Ηρ. ούκ άν μεθείην εοιε γυναίκα προεπόλοιε. really must.
Αο. ευ ο αυτοε αυτήν ειεαγ , ει οοκει, οομουε. AD. She must — unless, at least, you're going to be angry
Ηρ. εε εάε μεν ούν εγωγε θήεομαι χέραε. with me.
Αδ. ούκ άν θίγοιμι- δώμα S* είεελθεΐν πάρα. HER. I too have my reasons for particularly wanting this.
Η ρ. τήι εήι πέποιθα χειρι δεξιάι μόνηι. 1115 AD. Well, have your way then. But what you are doing by
Αδ. 9
άναζ, βιάζηι μ ού θέλοντα δράν τάδε. no means pleases me.
Ηρ. τόλμα προτείναι χείρα και θιγεΐν ξένηε. HER. You may yet come to thank me: do but give in now!
Αδ. και δή προτείνω, Γοργόν ώε καρατομών. 9 AD. ( t o t h e a t t e n d a n t s ) Conduct her inside, since this woman 1110
[Ηρ. εχειε; Αδ. έχω, ναι. Ηρ. εώιζέ νυν και τδν Διόε must be received into my house.
9
φήεειε ποτ είναι παΐδα γενναΐον ξένον.] ι120 HER. I wouldn't want to give the woman up to your
βλέφον πρόε αύτήν, ει τι εήι δοκεΐ πρέπειν
servants.
γυναικί- λύπηε δ ευτυχών 9
μεθίεταεο.
AD. Well, bring her into the house yourself, if you prefer.
HER. Into your own hands will I place her.
AD. I'd rather not touch her. But she may enter my house.
1097. γενναίωο Lenting: γενναίων BOV: - α ί α ν LPQ HER. In your right hand alone do I have trust.
1098. άντομαι LPQ: αιτούμαι BOV 1105. άθρει AD. My lord, you are forcing me to do what I don't want
BOV: δρα LPQ 1111. cole .ΒΟ: τήν VLPQ
1112. δοκεί LPQ: βουλει BOV δόμουο Marc. gr. IX to do!
10 (cod. Β apogr.), sicut coni. Monk: δόμοι c codd. HER. Bring yourself to stretch forth your hand and touch
1114. δώμα δ ' LPQ: δώματ' BOV 1115. μόνου Nauck the stranger—woman.
1118. δή BOV: μήν LPQ καρατομών Lobeck: -τόμω(ι) AD. I do so then - but as if I were cutting off the
codd. et j y 1119-20. del. Nauck 1121. πρόο V: Gorgon's head!
δ ' t c BOLP(Q) HER. [You have her?AD. I have her, yes.HER. Then keep
her safe and you shall say hereafter that the son of 1120
Zeus is a truly noble guest.] ( u n v e i l i n g A l c e s t i s ) Look at
her now and see if in any way she seems to resemble
148 your wife. Then change from grief to joy!
 9
Αδ. ώ θεοί, τί λέξω; θαύμ άνέλπιετον τάδε· A D . Ο gods! What am I to say? This is a wonder beyond
γυναίκα λεύεεω την έμήν έτητύμωε, all hope. Is it really my wife Pm looking at? Or has
9
ή κέρτομόε μ εκ θεού τιε έκπλήεεει χαρά; 1125 some delusive joy from the gods knocked my wits aside?
9
Ηρ. ούκ εετιν, άλλά τήνδ δράιε δάμαρτα εήν. HER. Not so; this is indeed your wife you look upon.
AS. δρα δε μή τι φάεμα νεοτέρων τδδ' { ι . A D . Be careful lest this be some phantom from the dead.
Ηρ. ού φυχαγωγδν τόνδ* έποιήεω ξένον. HER. Come, your guest is no spirit-trafficker!
9
Αδ. άλλ' ήν έθαπτον εΐεορώ δάμαρτ έμήν; A D . But am I really looking at the wife whom I've just
Ηρ. 9 9
εάφ ΐεθ · άπιετεΐν δ' ου εε θαυμάζω τύχηι. 1130 buried?
9
Αδ. θίγω, προεείπω ζώεαν ώε δάμαρτ έμήν; HER. You are indeed. But P m not surprised that you 1130
9
Ηρ. πρόεειπ · εχειε γάρ πάν δεονπερ ήθελεε. mistrust your luck.
Αδ. ώ φιλτάτηε γυναικοε δμμα και δέμαε, A D . May I touch her, and speak to her, as my actual living
9 9
έχω ε άέλπτωε, ούποτ δψεεθαι δοκών. wife?
Ηρ. έχειε' φθδνοε δέ μή γένοιτό τιε θεών. 1135 HER. Yes, speak to her. For you have absolutely everything
Αδ. ώ του μεγίετου Ζηνδε εύγενέε τέκνον, you wanted.
εύδαιμονοίηε καί ε δ φιτύεαε πατήρ 9
A D . Ο face and form of my dearest wife! Beyond all hope
εώιζοί' εύ γάρ δη τάμ άνώρθωεαε μδνοε. 9
have I got you back, for I never thought to look on
9
πώε τήνδ έπεμφαε νέρθεν έε φάοε τάδε; you again.
Ηρ. μάχην ευνάψαε δαιμόνων τώι κυρίωι. 1140 HER. You have her indeed. And may there be no envy from
Αδ. που τόνδε θανάτωι φήιε αγώνα ευμβαλεΐν; the gods!
Ηρ. 9
τύμβον παρ αύτόν, έκ λόχου μάρφαε χεροΐν. A D . Ο most noble son of almighty Zeus, bless you and may
AS. 9
τί γάρ ποθ ήδ άναυδοε εετηκεν γυνή; 9
the father who begat you keep her safe! For you alone
Ηρ. ούπω θέμιε εοι τήεδε προεφωνημάτων have set my fortunes right! How did you bring her back
κλύειν, πριν άν θεοιει τοΐει νερτέροιε ι145 from below to this light of day?
άφαγνίεηταχ και τρίτον μοληι φάοε. HER. By doing battle with that demon who had charge of 1140
9 9
άλλ ειεαγ είεω τήνδε· και δίκαιοε ών her.
τδ λοιπόν, "Αδμητ , εύεέβει περί ξένουε. 9 A D . Where do you say that you engaged in this struggle
9
καί χαιρ * έγώ δε τδν προκείμενον πόνον with Death?
€θενέλου τυράννωι παίδι πορευνώ μολών. 115° H E R . At the very tomb, seizing him from ambush with these
two hands!
A D . But why does this wife of mine stand silent?
1123. λέξω LPQ: λεύοοω BO(V) 1125. μ* έκ
Buecheler: με codd. (γε Ο) 1127. δέ Diggle: γε codd., HER. Not yet is it permissible for you to hear addresses
quo seruato 6ρώ Denniston 1130. τύχηι Reiske: τύχην from her, not until she has been purified from
codd. 1138. δή τάμ* άνώρθωοαο fere BOV: τάμ* consecration to the gods below and till the third day
ώρθωοαο fere LPQ: δή τάμά γ* ώ ρ θ - Tr 1140. κυρίωι comes. But lead her within the house. And hereafter,
ΒΟ: κοιράνω(ι) VLPQ: * utrumque agnoscunt Σ^ ν
Admetus, continue to be just and to be pious toward
1144. τήοδε VLPQ: τώνδε ΒΟ 1150. τυράννω(ι) VP guests. And so farewell! Now I will go and fulfil the
c
et L : - ο υ BO<L>Q labour assigned me for the tyrant son of Sthenelus. 1150

150 151
Αδ. 9
μεΐνον παρ ήμΐν και ξυνέετιοε γενού. AD. Stay with us and really be our guest.
Hp. 9
αύθιε τόδ έεται, νυν δ* έπείγεεθαί μ€ δει. HER. Some other time I will but now I must hurry off!
Αδ. αλλ* εύτυχοίηε, νδετιμον δ* έλθοιε δρδμον. AD. Good luck attend you and may your journey home be
acrolc δε πάεηι τ* έννέπω τετραρχίαι speedy.
χορούε επ* έεθλαΐε ευμφοραΐειν ιετάναι 1155
βωμούε τε κνιεάν βουθύτοιει προετροπαΐε. (Exit Heracles)
νυν γαρ μεθηρμδεμεεθα βελτίω βίον
του πρόεθεν- ού γαρ ευτυχών άρνηεομαι. The citizens and the whole tetrarchy I bid to set up
choruses in honour of this happy fortune and to make
Χο. 7τολλαί μορφαϊ τών δαιμονίων, savoury the altars with bull—sacrifices to supplicate the
πολλά δ* αελπτωε κραίνουει θεοί' ι ιβο gods. For now indeed has our life changed for the
και τα δοκηθεντ* ούκ ετελεεθη, better, and Γ11 not deny that I'm a lucky man!
9
τών δ αδόκητων πδρον ηύρε θεόε. CHOR. Many are the forms of strange and wondrous things;
9
τοιδνδ απέβη τόδε πράγμα. many things do the gods bring to fulfilment beyond all
expectation. The things one expects are not brought to
pass but god finds a way for the unexpected. In such a
1153. δρόμον Wilamowitz: δόμον LPQ et BVP: πόδα ΒΟ
1155. ουμψοραΐοιν ιοτάναν fere VLP: —aic ουνιοτάναι way has this affair turned out.
BOQ
(All depart)

152 153
 COMMENTARY

The "Hypotheses"
(See also Introduction, Section I). Dicaearchus was a pupil of
Aristotle's who composed (in addition to numerous literary and
philosophical works) various "Hypotheses" 9 or Introductory Notices, to
Sophoclean and Euripidean Tragedies.
Aristophanes of Byzantium was Head of the Alexandrian Library early
in the second century B.C. He prepared editions of several major Greek
poets and provided the basis for the Alexandrian canon of Greek authors.
His "Hypotheses" to various Greek Tragedies preserve much valuable
information based on the didascaliae (or records of performances of Greek
plays) compiled by Aristotle and his school. On tragic Hypotheses in
Euripides see the literature cited in Shirley Barlow, E u r i p i d e s , Trojan
Women (Warminster 1986) 156, in this series, especially E . G . Turner,
"Euripidean Hypotheses in a new papyrus", Proceedings of t h e N i n t h
I n t e r n a t i o n a l Congress of Papyrology (Oslo, 1958; published 1962), 1-17
and, particularly with regard to Dicaearchus' Hypotheses, J . Rusten, GRBS
23 (1982) 357 -67.

Prologue 1—76
The Prologue of the A l c e s t i s follows the most common of several
forms of Euripidean Prologue: a monologue followed by a short dialogue
scene. More often than not, the speakers in the dialogue include the
speaker of the monologue and the dialogue develops in dramatic form
some aspect of the situation presented in the monologue, or else adds
some additional information concerning that situation. The present Prologue
presents a classic example of this form. Apollo expounds the situation
(Alcestis' imminent death, its circumstances) and mythical background
(1—23), then the altercation between Apollo and Death (24—76) gets that
lugubrious action (which is to continue for the first third of the play)
under way. Apollo fails in his attempt to frustrate Death's designs on
Alcestis. The Prologue ends with the withdrawal of the defeated Olympian
but not before he has made a prophecy (69-71) which will affect the
mood and attitude of the audience throughout the whole of the coming
action.
Euripides' Prologues are sometimes criticized for anticipating the
dknouement of the action. In this example (as in several others), however,
the essential features of the plot development are not revealed but only
hinted at, e.g. by the abrupt prophecy of the coming of a rescuer
(unnamed but identifiable) of the Queen, and, more particularly, by the

155
significantly allusive suggestion of the rescuer's motivation in the phrase, proper, guest-revering treatment which he has received from his host
"after being entertained in Admetus' halls" (68). On the relation between Admetus, and wishes to show reciprocal honour to his host, it seems
the Prologue of the A l c e s t i s and the audience's expectation with regard to natural to use the same word of both the god and the man here
the action of the play, see R. Hamilton (above, Introduction, n. 23); on involved.
Euripidean Prologues in general, see H . Erbse, S t u d i e n zum Prolog der 12 by beguiling the Fates: cf. Aeschylus E u m . 723 - 4 and 727 - 8 , where
E u r i p i d e i s c h e n T r a g o d i e n (Berlin 1984) and Grube Chap. V . the Chorus of Furies accuse Apollo of having tricked the Fates, in
1 ff. Six other Euripidean Prologues open with an apostrophe, usually this matter, by means of wine.
either to a god or (as here) to a place of significance either for the 16 and to his father ...: this verse, which has been bracketed as
play or for the speaker. (The "first Prologue" of the Iphigenia at inauthentic, presumably a gloss, in our text, provides difficulties after
A u l i s , which Agamemnon opens by hailing the old slave who was to "all his friends" (πάντας ... φίλους) in the preceding verse.
hear his message to Clytemnestra, provides the only exception among "Friends" (φίλοι) for ancient Greeks would normally include parents,
such openings and its authenticity has been questioned). In the latter especially in a context where they might be involved; this would lead
cases, i.e. where the apostrophe is to a place (as in A l c e s t i s , us to take the "father" and "mother" of v. 16 as in apposition with
A n d r o m a c h e and E l e c t r a ) , the vocative is left 'dangling', followed by a friends — except that an enumeration of two after πάντας (all his
relative clause but no independent expression (e.g., an imperative or friends") seems odd. (See, however, Dale's ingenious explanation of
an exclamatory statement), as in the case of opening sentences πάντας as referring here to all those eligible to make the substitute
addressed to the gods. sacrifice, i.e., in terms of the folk-tale, only family members, which
3—4 Zeus' blasting of Asclepius was for raising men from the dead, as the in this case would mean only parents and wife.) This latter difficulty
Chorus will make clear in the parodos. (On the myth involved, see has led Nauck, followed by Weber and others, to understand v. 16
Introduction, 6-7). In addition to its place in the context of Apollo's (by inserting καί, "and") as indicating a series, rather than an
narrative, the event is to have a symbolic significance in the play, apposition, with the "friends" of v. 15, a "correction" which offends
indicating the impossibility in the traditional world of tragic myth against the aforesaid expected inclusion of parents among one's
(which the Chorus describes) of resurrections from the dead. Cf. w. φίλοι. Despite these difficulties one is reluctant to reject the verse
112-31, 455 -59, 962 -90 for recurrences of "the resurrection motif with Dindorf, Diggle and others: it seems essential that the refusal of
(and its impossibility) including further, regretful references, overt or Admetus' parents to die for Admetus be mentioned from the start, as
oblique, to Asclepius at w . 122-29 and 988-99. (See Introduction p. an essential part of the whole situation. (Cf. also C. Collard, CR 36
38 and note 24, p. 42). Admetus himself is to make one wishful, [1986] 21 and Erbse, S t u d i e n zum Prolog 98, who also defend this
almost whimsical, reference to "resurrection possibilities" at w. verse.)
357 -62. Whatever one decides about v. 16 it is clear from w . 15 and 17
6 The Cyclopes were gigantic one—eyed sons of Ouranos (Sky) and Gaia that Admetus took the initiative in asking others (apparently including
(Earth), who had been imprisoned by Ouranos and later released by Alcestis) to die for him.
Zeus. In return, they gave Zeus the thunderbolts which Gaia had 19—20 Against Diggle's text ή ν ... ψυχορραγούσαν, adopted from Usener
hidden until then and which helped Zeus to defeat Kronos and the and translated here, the reading of the MSS has this to support it:
other Titans in the Titanomachy (or "Battle of the Titans"). See elsewhere in the play βαστάζω is used in the active (724) and so one
Hesiod, Theog. 139-46 and 501-6, 690 ff. The Cyclopes, like "the might expect βαστάζεται (19) to be passive, not middle, here. In
Hundred-armed Ones", are not listed with the other, Titan children this case ή (relative pronoun), modified by \|/υχορραγοϋσα (see app.
of Ouranos and Gaia at Theog. 133 ff. and seem to have been c r i t . ) is subject of the passive verb: "She [ l i t . , "who"] breathing her
%

distinguished from them, though possibly the apparent distinction is last, ... is being supported ...".
due only to some error in Hesiod's transmission of these primitive 20 for ... on this day: the god (and the poet) slides over the time
myths. See M . L. West, Hesiod, Theogony (Oxford, 1966) 206-7. between Alcestis' undertaking and its fulfilment without indicating how
10 lover of virtue: δοιος, the Greek word here, is an adjective not long a period intervened. However, this ellipse does not really justify
normally used of the gods (see LSJ s.v. II.3) since, when used Wilamowitz's gratuitous suggestion (which we may agree with Dale,
personally, it usually describes a human attitude of respect often xvii, in rejecting) that Alcestis made her self-sacrificing promise as a
toward the gods or towards people or duties protected by them. bride and regretted, but did not repudiate, it later as a mother.
However, since Apollo wishes to indicate that he appreciates the 21 to die and leave her life: an appropriately solemn and sonorous

156 157
 tautology. from v. 48, and be rendered as in our translation. If, on the other
22-3 lest any pollution reach me: traditionally, the gods were thought to hand, we accept έμβαλεϊν, the reading of the MSS, then the
suffer pollution in the presence of death or its physical effects; cf. infinitive will depend on τέταξαι ("you are assigned", "it is your
Eur. H i p p . 1437-9 (where see W. S. Barrett's interesting note ad duty") understood from τετάγμεθα, 49; we may then take
l o c . ) . Cf. also Soph. A n t i g . , 1039-44, where Creon denies, to his μέλλσυσιν in the sense of "delay" (as the Scholiast does): "Nay
peril, that the gods c a n be affected by the miasma from an unburied rather, (it is your duty) to cast death on those who are delaying" i.e.,
corpse. (Euripides, however, is capable of having it both ways: cf. HF on the old who (like Admetus' father, Pheres, as we shall see later:
1232—4, where Theseus denies that Heracles, fresh from the slaughter 683 ff.) should be, but are not, ready to die. This latter version
of his children, can pollute the realms divine — or even his friends, seems less likely, especially since there has been no emphasis as yet
for that matter. One feels that this last passage, rather than the other on Pheres' reluctance.
two, comes closer to expressing the iconoclastic poet's own view of 57—9 a law in favour of the rich: Death cleverly (and anachronistically)
the matter.) accuses Apollo in effect of arguing in an "undemocratic" manner.
24 Death (θάνατος): it is neither Hades, lord of Death, nor Charon, the Apollo (or the poet?) draws attention to this surprisingly apt argument
"grim ferryman" of the River Styx, but the less familiar, more ogreish from the primitive Death (the Sophists were constantly arguing about
figure of Death who comes to claim Alcestis: another touch serving to nomos, man-made law or convention); Death then fulfils Apollo's
separate this macabre play from the traditional world of tragic myth. fears that he is after all dealing with "one of those clever people" by
(This point was apparently lost on the scribe of P, who has n
explaining his nomos argument" with rhetorical skill.
substituted Charon for Thanatos in the list of d r a m a t i s personae and 59 ... would purchase a late death ( l i t . , "dying old"): Hermann's
in all but two places in the passage of dialogue at w . 38 ff.) correction γηραιοί for the accusative γηραιούς of the MSS is a
29 ff. Death intones his first nine verses in anapaestic chant. His necessary one, although Murray sought to save γηραιούς by the note
querulous tone is well conveyed by such touches as τ ί σϋ ..., τ ί "sc τούς φίλους" in his app. c r i t . The accusative probably crept in
σν>...; (in effect, "What are you doing here?" repeated), by the because of the following infinitive; cf. Dale's note ad l o c . There has
outrage expressed at 30—31, and by the compounding, at 32—5, of been some confusion about the verb but clearly ώνοίντ', from
Death's earlier complaint against Apollo with this fresh evidence of ώνέομαι "buy", is the only possible reading.
the god's interference. 60 this favour (χάριν): this is the first occurrence of the actual term for
38 ff. Don't be frightened! (θάρσει, heavily sarcastic): One notes a the concept which (for better or worse) is to govern much of the
reciprocally jeering, barracking tone (possibly one of the "pro-satyric" "ethical action" of the play. (See Introduction, pp. 37 ff. and, for a
touches in the play) throughout this exchange between Death and summary of the treatment of the "charts—theme", pp. 42—3.) Death,
Apollo, with occasional flashes of sardonic wit (e.g., at 55—8). of course (reverting to character at v. 61), has no interest in such
38—9 if you have justice: an echo of a sophistic argument? True justice considerations.
should not need force to support it — unless one is a Thrasymachus 64 You will have to yield: the text adopts Schmidt's correction π ε ί σ η ι ,
who believes that Might is Right (see Plato, Rep. 1.338 a 5 ff.). for παυση(ι) of the MSS. Some would, however, prefer to retain
41 beyond justice: (έκδίκως LP) is almost certainly the correct reading παύσηι "you'll cease [i.e., from your activities here] sure enough!"),
here. The few who would favour ένδίκως (BOV) "with justice", will even though the middle is used where we might expect the stronger
have to take the adverb in a .sarcastic sense (picking up Apollo's passive, π ε ί σ η ι , l i t . "you will obey" (i.e., "be persuaded"), as Dale
claim to justice at 338); this has, at best, the dubious support of points out, contradicts βίαι ("by force", 69), unless it is being used
being the more difficult reading and so (it might be argued), the one ironically.
more likely to have been changed. 65—9 such a one will come ...: thus is the coming of Heracles and his
49-50 Death, pretending to misunderstand what Apollo despairs of rescue of Alcestis from the dead prophesied. The rescuer Heracles is
persuading him of, declares himself quite ready to be persuaded — to not named but the Greek audience would, of course, have no
carry out his fell office. Apollo (at least according to the text here difficulty in identifying him from the description of his errand.
printed) "corrects" Death's "misunderstanding" in the following verse. Heracles' Labours (one of them to obtain the famous Thracian horses
50 to put off death: if we accept Bursian's emendation άμβαλεϊν, of Diomedes: 481 ff.) imposed by Eurystheus at Hera's bidding, were
printed in the text, for έμβαλεϊν ("to throw upon") of the MSS, well known to all. The suppression of Heracles' name at this point
then this infinitive will depend on π ε ί ο α ι μ ι ("persuade") understood may be a part of the poet's intentional lack of specificity in Prologue

158 159
 prophecies. It is tempting to suppose as well that he did not at this the Servant is to develop in the first episode and which is to be an
point wish to identify "the folk—tale hero" as the son of Zeus when, important element throughout the play.; see, for example, 150-1, 152
shortly before and shortly after this passage, attention is drawn (at w . ff., 226-9, 432 ff., 435-76, 879-80, 1060, 1083.
4—5 and 122 ff.) to 21eus' outrage at similar transgressions of the 92 Ο Healer Apollo: there is a certain ironic pathos in the wish that
necessary order of things. However, later in the play (at 509 and "Apollo the Healer" might appear, for we have already seen that he
9
838 —39), no bones are made about Heracles divine paternity. finds himself unable to prevent "Death" from taking Alcestis.
70—1 favour (χάρις): the idea which Death has rejected (61) reappears. 94 The reading of the MSS, printed but obelized, is unmetrical. Seidler's
Here Apollo points the moral which which becomes a t o p o s , or reading, given in the apparatus c r i t i c u s , avoids the metrical difficulty
common—place, of many cautionary tales: what one refuses to do as and may be literally translated: 'The corpse <is> not indeed gone
a favour one may one day be forced to do (or, as here, to accede from the house."
to) anyway, with no credit or gratitude for the event. The most 98 ff. spring water placed before the gates: lustral water would be placed
celebrated example of such a cautionary tale is Phoenix's telling of at the door of the deceased's house so that visitors could purify
the wrath of Meleager and its results, to the sulking Achilles at themselves from the pollution of death. Cf. Burkert, Greek R e l i g i o n ,
Homer //. 9.529 ff. 79 and references there given. With regard to the shorn hair placed
74 to begin ... the rites of sacrifice: κατάρχομαι was used in the sense at t h e e n t r a n c e t o t h e house of t h e dead p e r s o n , t h e r e are not, as
of beginning a religious sacrifice (e.g., by washing hands, sprinkling Hayley points out, any other allusions in Classical sources to this
barley—meal, etc.). It then came to be used of preparing or practice (as distinguished from shorn hair placed at tombs).
consecrating the sacrificial victim and then of performing the sacrificial 102-3 Again the text (obelized by Diggle) is uncertain, though the
act itself. In Euripides, it occurs in both senses (sometimes general sense is clear. Blaydes' emendation πρέπει, with Diggle's
indistinguishably) in connection with h u m a n sacrifice; see I . T . 56, adjustment δ for ά, may well be correct; in that case, the translation
H e l d . 529, E l . 1222. See also the comments on άρχεσθαι, would be: "[a thing] which is suitable [or customary], in mourning for
άπάρχεσθαι, in connection with sacrifice rituals, in Walter Burkert, the dead." νεολαία (in the next clause) is normally a noun ("young
Greek R e l i g i o n , translated by John Raffan (Oxford 1985), 56. people") not, as apparently here, an adjective; moreover, there seems
to be no good reason for restricting mourning for Alcestis to young
Parodos 77-135 women.
After a brief anapaestic series (77-85) pondering whether the Queen 114—16 neither to Lycia nor to the dry Ammonian stretches: there is
has already died, the Chorus begin singing the p a r o d o s . The first strophic some uncertainty (due to difficulties of responsion with v. 126)
pair of stanzas (86-111) continues the uncertainties of the initial concerning the precise reading of 116; it is clear, however, that the
anapaestic questions. No sound of mourning and no clear sign of remote oracles of Apollo in Patara and of Zeus Amnion in Egypt,
bereavement have issued from the palace, yet this is indeed the day on respectively, are referred to. These oracles of Apollo and of 21eus are
which Alcestis is fated to die. Thus the opening anapaests and the first mentioned here rather than the more usual ones (at Delphi and
half of this ode introduce that ambiguity between life and death which, in Dodona, respectively), which might already have been routinely
one form or another, is to hover over the whole of the play, including its consulted, in order to suggest the extremity of the need.
finale. The second strophic pair introduces the theme (again to be repeated 122 ff. Alcestis alone ...: the translation accepts Diggle's emendation μόνα,
frequently throughout the play) of the incontrovertibility of death, once it (feminine adjective, "alone", "only") for the masculine μόνος of the
approaches, all the more so (and here the Prologue reference to Apollo's MSS. The adjective clearly modifies the subject of the apodosis, or
son, 3—4, receives its first development) now that one can no longer turn main clause, of this "unreal" conditional sentence, as the word order,
to Asclepius, blasted by Zeus for having raised mortals from the dead. especially the particle άν following the adjective, indicates (cf. Collard
The parodos is divided between two halves of the Chorus singing (or, CR 36 [1986] 20): the emendation, μόνα for μόνος, allows it to
in the opening anapaests, chanting) in turn. The actual divisions are modify the feminine subject, i.e. Alcestis, of that apodosis as it
uncertain in places: the text and translation follow the majority indications appears in the text. However, if we retain μόνος (as I think we
of the MSS. The metre of the ode is predominantly iambic, the lyric should) then this adjective will modify Asclepius understood as t h e
verses being interrupted by an anapaestic dialogue (upsetting the precise subject of a suppressed m a i n clause; the sentence beginning "only he
responsion between the first strophic pair) at w . 93-7. ..." should have continued "would have been able to save Alcestis."
83-4 the best of wives: this is the first occurrence of the motif which The anacoluthon ("only he ... she might have escaped"), which

160 161
 Diggle seeks to remove by his emendation, contributes perhaps to the with the Chorus—Leader confirming the Queen's imminent death. The
pathetic sense of what might have been. (Weil and Hayley, on the speech begins and ends with declarations concerning the great worth of
other hand, take μόνος as modifying the subject of the protasis and Alcestis as a wife and within this frame (152-6; 197-8: "ring
refuse, somewhat perversely in my view, to recognize any real composition" in effect if not in actual words) the Serving-Maid justifies
anacoluthon here.) this praise by her account of her mistress' farewells to the marriage-bed,
The decisive factor in this apparent choice is surely that the to her children and to her household servants. This speech, and
uniqueness (indicated by μόνος) in the context clearly applies to particularly its concluding verses (197-8), prepare us for the "too-late
Asclepius and not to Alcestis. Without him (the Chorus has not heard knowledge" which Admetus is to achieve later in the play.
9
Apollo's Prologue forecast at 65 ff.), all hope of Alcestis return from The Serving—Maid's Speech may perhaps be described as a "surrogate
the dead has perished, whereas, as the Chorus themselves remind us a Messenger Speech" (so C. Collard in his edition of Euripides' Supplices
moment later (127), Asclepius had raised others from the dead until [Groningen 1975] Π. 274) in a play which, like The Trojan Women, lacks
blasted by Zeus for so doing. Diggle's examples (urged in defence of a set speech by a Messenger.
his emendation, I C S 6 [1981] 82) of Alcestis' singularity in other 141—2 both alive and dead: this exchange continues the "life/death
contexts in the play, have, I think, nothing to do with the case. ambiguity" already introduced and later (e.g., at 518—22) to be
(Indeed, if one is looking for significant parallels for the use of developed in more paradoxical form. This Euripidean paradox about
μόνος in this play, one may perhaps find one at 972, placed in a life and death was parodied by the Aristophanic "Aeschylus" and
similarly prominent position in its verse: just as Asclepius was, until "Dionysus" at Frogs 1082 and 1477, respectively, though it is a verse
checked by Zeus, the only one who could get the better of Death in Euripides' Polyidus 2
(fr. 638 N ) which Dionysus actually quotes
and A n a n k e ["Necessity"], so, too, [in the later passage], A n a n k e is back at "Euripides". See also Stanford's citation of other Euripidean
the only god who is unapproachable by sacrificial pleas.) passages in this connection in his note to Aristophanes' Frogs (in his
127—9 For he raised those whom death had taken ...: the Chorus edition, London, 1963), w . 1079-82.
supplement Apollo's account in the Prologue (w. 4—5) of Zeus' 144 ... pious man that you are etc.: l i t . "of what a wife (οίας) are you,
blasting of Asclepius, by supplying the reason for it. Would the what a man (οίος), deprived." The Greeks admired these verbal plays
audience have been aware of the irony that (as Apollo prophesies) it more than we do; cf. supra v. 10; cf. also Aeschylus, PV 545, A g .
is to be Zeus' own son who will, in effect, provide one more instance 1545, C h o . 42.
of the deed for which Asclepius was punished? V. 144 has been moved in our text to follow v. 149. By this
132-5 Arguments for the deletion (first by Wheeler, followed by manoeuvre the Chorus' interrogation of the Serving—Maid concerning
Wilamowitz, Weber, and, in our text, by Diggle) of these verses are the immediate situation with regard to Alcestis is completed before
not completely convincing: see Hayley's and Dale's summaries and this general comment (v. 144) on the magnitude of Admetus' loss.
rebuttals especially of the arguments based on diction and metre. The Certainly a more satisfactory sequence has been achieved; readers will
further and perhaps main objection that the Chorus has recently decide for themselves whether this consideration justifies the switch.
declared, with appropriate lyrical exaggeration, that no sacrificial 145 The master doesn't realize this yet ...: a clear anticipation (like
prayers are effective against death, need not mean that no such 197-8, at the end of the Servant's long speech) of Admetus'
sacrifices will be made, either as a desperate resort or even as a "recognition" at 935-40.
matter of form. (cf. the somewhat similar problem which arises in 153 What ought the surpassing woman to be called? This is Diggle's literal
connection with v. 218 ff. and the reference to H e c . 470 there translation (PCPhS 15 [1969] 35) of the text which he here accepts
given.) Particularly far-fetched is the view of Wilamowitz, echoed by following Broadhead's emendation. Broadhead's own translation of his
Weber in his note ad l o c . , that these lines were inserted after the emendation, though more elegant, is less literally accurate: "What
cult of Asclepius had been founded at Athens. In the unlikely event words can describe a woman so preeminent in virtue?" (Broadhead,
of insertion for this reason, some mention of Asclepius' name would T r a g i c a , 108). Professor Collard suggests to me that Broadhead's
surely be expected. λέγεσθαχ is more easily acceptable with Reiske's emendation τήνδ'
for τήν (i.e., "What ought t h i s woman so preeminent in virtue be
First Episode 136-212 called?".)
The main content of this brief episode is the Serving-Maid's 160 from their homes of cedar wood: "homes" (δόμων) is, of course, a
encomium of Alcestis (152-98) which she delivers after a brief dialogue metaphor for the cedar chests in which the clothes and adornments

162 163
 were stored. the antistrophe, 230, the first verse of the antistrophe being incomplete);
162 Hestia: not all editors capitalize; some, e.g., Wilamowitz, take it as otherwise there is a mixture of metres with iambics predominating.
simply meaning "hearth". But the goddess is addressed in the next Our text follows Hermann's apportioning of these verses among five
verse ("Δέσποιν': "Lady Mistress") and so it seems probable that members of the Chorus. The slight changes in tone (e.g., the faint
Alcestis is standing before Hestia's altar. suggestion of question and answer at 215 and 218, respectively; the
165 To look after my children: Euripides uses the rare word όρφανεϋσαι, trimeters at 221, 233, which might be spoken by the Chorus-Leader) tend
curiously favoured by him. (Hayley notes four other Euripidean to justify these editorial attributions. Possibly, however, the verses are sung
occurrences including v. 297, below.) by alternating semi—choruses. See Dale's excellent note.
172 foliage ... from the branches of a myrtle tree: myrtle was used in 215ff. < Q woel> tWill someone come out?t < α ι α ΐ : "Ο woe"> is
tomb ceremonials; see Dale's note and references ad l o c . added e x t r a m e t r u m to secure correspondence with v. 228 of the
180 You alone have destroyed me: if, on the other hand, we read μόνη ν antistrophe. The words which follow ( ί έ ξ ε ι σ ί τ ι ς ί : t"will someone
the reading of the MSS (instead of μόνον in the text translated), the come out?"t) are daggered because they provide one syllable beyond
meaning will be, "You have destroyed me alone!" (i.e., "the only wife the enneasyllabic (nine-syllabled) verse expected as the first of the
so to have suffered" or "Just me and not my husband as well", as aeolo-choriambic verses in recessive lengths (of nine, eight and seven
Weil, understanding mon epoux vivra," thinks). Neither reading gives syllables, respectively) and balancing the corresponding verses of the
an easy sense but the emendation μόνον (the emended adjective then antistrophe. (Wilamowitz's explanation that έ έ [= α ι α ι ] was
modifying the subject, "the marriage—bed") seems to fit the total corrupted to έ ζ as the first syllable of έ ξ ε ι σ ι seems reasonable.)
context better. Hayley also points out that the unemphatic position of 218 Dread prospects, ... dread indeed: the emendation δ ε ι ν ά ... δ ε ι ν ά
the adjective also favours this text and interpretation. (printed in the text here translated) is by no means a certain one,
199 —200 No doubt Admetus must be grieving: the opening particles give since δήλα ... δηλδ, the reading of the MSS, also gives a reasonably
this reference to Admetus a slightly "throw—away" quality. We learn good sense: "Clear though the issue be" (cf. Dale's note on δήλα)
in the next speech from The Serving—Maid that the King is actually "we will still pray to the gods ..." (Cf. Hecuba's perhaps more
holding his wife in his arms. It is significant, however, that he is kept cynical comment at T r o . 470 when she has all but given up hope,
out of the Serving—Maid's long speech on Alcestis' "last day" in her "And yet there is a certain 'form' [σχήμα, which, as often, is almost
home, just as he is deprived of any effective participation in the first untranslatable] to calling on the gods ..."). Cf. also Suppl. 626-27,
(and most moving) part of "the Death Scene" to come. Euripides where the Chorus admit that their repeated prayers to the gods are
likes to "concentrate", whether it be on one aspect of a personality, evidence that they fear the worst.
or on one individual, at a time, and this part of the play belongs to 223 tyou found a way outt ( l i t . "you discovered this"): the daggered
Alcestis. words do not match metrically the corresponding verse (235) in the
207-8 [since never again etcl: these verses, bracketed as an intrusion in antistrophe. Since v. 235 is also metrically suspect and since,
our text, are almost identical with Eur. H e c . 411-12, and fit poorly moreover, the obelized words in v. 223 have been suspected as a
into the present context. gloss replacing the original text (see Dale's note), the correct reading
cannot be recovered.
The First Stasimon 213-37 228 ... one's life blood ... a lofty noose: the two most obvious methods
This brief ode serves to sum up the two themes introduced in the of suicide, by the knife and by the noose, are paired by convention,
parodos and in the first episode, respectively. In the first half of the ode, as it were, in this passage.
the Chorus again lament, with plaintive (and ironic) cries to Apollo the
Healer, the apparently inevitable fate of Alcestis; in the second strophic 1
Alcestis Monody (Alcestis with Admetus) 244-79
pair and in the anapaestic clausula, they echo (235-6; 241-3) the In this, the first part of the scene devoted to the actual death of
sentiments of the Serving-Maid that Alcestis is "the best of wives" whose Alcestis, the Queen's 'death-song' alternates with iambic and (at the end)
loss Admetus will find worse than death itself. anapaestic verses from the King. The contrast between Alcestis' lyric verses
The ode is limited to one strophic pair since, after the brief and Admetus' spoken and then chanted ones serves to emphasize the
anapaestic passage (238-43), Alcestis will enter to sing the first, lyrical psychic distance which, for all Admetus' attempts to bridge it, continues
part of her Death Scene with Admetus. The metre in the more plangent throughout Alcestis' monody. The most notable features of this unique
verses of the ode is dochmiac or hypodochmiac (e.g., in 213, 218 and, in 'death song' are the intense impression of immediacy and privacy which it

164 165
expresses: we feel, with Alcestis, first the presence and then the assault of Death, whom Alcestis feels to be leading her away). Later, again, it
death as she sees Charon approaching and then vainly seeks to resist his is Death with whom Heracles is to wrestle (see 843-5, 1140-2).
summons to his bark. Admetus seems excluded from this experience, as the However, the more familiar mythological eschatology seems better
Queen addresses first her surroundings, both natural and domestic, then suited to this lyrical treatment of Alcestis' experience of death. The
'the grim ferryman,' and finally, in a last farewell, her children. The audience would not be troubled by the inconsistency, if they were
King's attempts to share her suffering, and his pleas that she not desert even aware of it.
him, go unheard or, if heard, unheeded. Not till Alcestis has, in a sense, 255 Cf. the slightly less peremptory call ("Oedipus, why are we delaying
"died in the lyric mode", will she turn her conventionally "revived" spirit to go?") by Zeus-of-the-dead to the aged Oedipus at Sophocles,
(see below, note on w . 280—392) toward her husband — and then he will O.C. 1627-28.
become the only focus of her attention. 259 Someone is leading me away: the verb is repeated three times in the
There are, of course, several other examples of visionary "psychic Greek. These repetitions (of which other examples may be noted in
experiences" in Greek Tragedy. Among the more striking examples which this passage, e.g., at 252, 266), are a typical Euripidean device for
come to mind are the "Cassandra episode" at Aeschylus, A g . 1072 ff., emotional effect. Cf. A l e . 400, H e c . 59-60, T r o . 1217, 1235, B a .
Orestes' much briefer visions of the Furies at C h o e p h . 1048—62, and the 977, 987, 992. Aristophanes parodies the device at Frogs 1331 ff. and
report and later actual presentation in Euripides' Bacchae of Agave's 1352 ff.
catatonic state in which she sees her victim Pentheus as a lion (Bacch. 268-9 Hades is near: in this second reference to Hades, the god, the
1106—1147 and 1168 ff.). However, all of these differ, in various ways, realm and the experience of Death seem almost indistinguishable from
from the intense privacy of the present extraordinary scene. each other.
244 ff. Ο Sun and light of day: Alcestis' first invocations are to the 270 - 2 Your mother lives no longer. Farewell ...: with these verses,
natural elements. As Dale and others have observed, there may be a Alcestis seems, indeed, to die.
reminiscence of "scientific" concepts of Euripides' day in the 277 - 9 Rise up ... on you depends our existence ...: granted that these
expression "heavenly whirlings ( δ ϊ ν α ι ) of the scudding clouds" (245). words are appropriate to, almost conventionally expected of, "the
Cf. Aristophanes, Clouds 380 f. (and Dover's note ad l o c . ) , where the grieving husband", it is difficult, in the p a r t i c u l a r circumstances, not
Aristophanic "Socrates'" mention of Δϊνος ("Whirl") may have to suspect a touch of irony on the poet's part here. See Introduction,
similar reference to Empedoclean or Anaxagorean concepts of a p. 45.
primordial force which brings the Universe's elements together.
248 —9 bridal chambers of my Iolcian home: Dale notes the inconsistency Second Episode, Part (i), 280-392
here (as to where Alcestis and Admetus were married) with 177 and Alcestis now "recovers", as it were, to deliver a lengthy speech
911 ff. (especially 915-16). expressing her final wishes to Admetus. (On the dramatic convention here
250 Do not abandon mel (μη προδωις): The King's repeated use (cf. involved, and on Euripides' exploitation of it, see Introduction, p. 38 and
202, 275) of this (in the context) somewhat surprising expression is note 25.) The burden of Alcestis' and Admetus' long speeches in this
striking. Alcestis (as quoted by the Serving-Maid at 180) has used the scene is central to the dramatic development of the play. Reminding her
same word more aptly of her refusal to betray her husband by husband that she is dying for him when, if she wished, she might live, she
refusing to die for him, and she is to use the same word again, in asks as a return of favour (charts 299) - "not an equal return", she adds,
H
the same sense, of Admetus' parents' refusal to sacrifice themselves but still a just one"): that he not marry a stepmother over their children.
(cf. 290 and Note.) It is noteworthy that every one of Admetus' In his somewhat fulsome reply (on possible audience reactions to the
interruptions of Alcestis' monody contains references to his own plight speech, see below, note on 367-8), Admetus makes three promises: no
(246—7, 250, 264 —5, 274) which he seems eager to equate (especially new wife, no more entertainment in his halls and only a cold statue of
at 246 -7) with that of Alcestis herself. (Later, 935-40, he is to Alcestis to share his bed. Each of these promises is to be tested and in
regard it as worse than Alcestis', an attitude which is anticipated, some sense, real or ironic, betrayed before the play is over. And the
perhaps, at 273 -4). second of these promises, it will be noted, re-introduces the "hospitality
254 Charon: there seems to be some inconsistency between Alcestis' vision theme" which may be said to provide the beginning, middle and end of
of Charon coming to take her in his bark (across the River Styx to this treatment of the Alcestis legend.
Hades' realm) and the appearance of the folk-tale figure, Death, in It is, however, the promise of "no new wife" that Alcestis calls her
the Prologue. (Cf. also 260 - 2 , where it is "dark-browed Hades", not children to witness (371 ff.). On these terms, she commits the children to

166 167
Admetus* care (375) and, after a short pathetic dialogue with Admetus and Alcestis' comment here (290 -2) on the failure of Admetus' parents
further farewells to her family, "dies again" (see detailed notes on 385 ff.). to grasp their opportunity for a noble death prepares us for Admetus'
The scene has the external form of an agonistic "supplication-scene": later declaration (662-8), in his scene with Pheres, that Alcestis has
opening r h e s i s (or "set speech") followed by a distich from the now taken t h e i r place in what would normally have been his feelings
Chorus—Leader; answering r h e s i s , followed by another choral distich; of f i l i a l duty and affection.
stichomythia (alternating single—verse dialogue) reaching its climax in 298 some god contrived ... : the tone of Alcestis' statement (as the
broken lines at 390—91 (antilabe); concluding single verse from the translation seeks to suggest) should not be taken, as Paley and others
Chorus—Leader. (See also C. Collard, "Formal Debates in Euripides' have taken it, as comparable to that of "Christian resignation" to
Drama", G and R 22 (1975), 58 -71, esp. p. 62 and references in Note God's will. Alcestis is simply stating an unpleasant but ineluctable fact.
4. 299 favour (χάριν): this is, of course, the key term indicative
280—325 We should guard against taking the formal tone of Alcestis' of the relation permanently imposed between Alcestis and Admetus by
speech, and the lack of any emotional declaration in it, as indications her sacrifice of life for him. "Favour" was an essentially reciprocal
that Alcestis does not "love" her husband and that she is sacrificing conception for the Greeks and Admetus can never really hope to
herself purely from a sense of duty to husband, family, and realm. In restore the balance owed to Alcestis. Hence his (to us) somewhat
a sense, Alcestis "says it all" at w . 287 —8 ("I did not wish to live desperate efforts to do so in his answering speech.
deprived of you with my children orphaned ..."); beyond this, the 305 Don't marry a step—mother [to bel over our children: this is surely
dramatist is not primarily interested, for the theme which he is to the point of the prohibition (see LSJ, έπιγομέω, s.v.) rather than, as
develop, in how Alcestis feels. Dale argues, "not to take [a stepmother] in second marriage on top
284—6 I did not have to die etc.: the fact that Alcestis (as she herself of the one those children represent." Nor can I see that the
here indicates) clearly had a real choice whether or not to die for Herodotean passage (4.154.1: έπί ταύτη (his daughter) έγημε άλλην
King and husband, and could even have expected to marry another γυναίκα to which Dale refers really supports her construing; there,
Thessalian ruler if she refused the sacrifice, provides at least an initial too, the context concerns the marrying of a step—mother over the
indication (there will be others) of the irrelevance for this play, of daughter of the deceased wife.
the 'grand seigneur' view of Admetus' situation, according to which it On the Greek prejudice against the stepmother (whom Alcestis likens
would be expected that Alcestis should die for her royal husband. to a viper in fierceness, 310), see the passages referred to in W. S.
287 ff. I did not wish to live: the past tenses which Alcestis uses here to Hadley's edition (1896) ad l o c . , namely Eur. Ion 1025, Hes. Opera
explain her decision and what it involved seem no justification for the 825, Aesch. P.V. 727.
view advanced by some scholars (including Wilamowitz) that Alcestis 312 This verse, bracketed for deletion, is an almost exact repetition of v.
now regrets, though she does not repudiate, her past decision. Cf. 195. It is difficult to conjecture why it was inserted at this point.
Dale (1954) xvii and Rivier (1972) 135, both of whom rightly reject 317 For your mother will not be there etc.: Similar conventional maternal
this view. regrets are expressed by Medea (in rather different circumstances!) at
289 though in both of these possessions ( l i t , 'in which possessions') I took Med. 1026-7.
much joy: the translation 'justifies' the plural relative ο ί ς by referring 321 on the third of the month ( έ ς τ ρ ί τ η ν ... Ιμηνδςί): ίμηνδςΙ is
it back to π α ι σ ί ν ('children') as well as to ήβης ('youthful beauty'), obviously a corrupt reading. No convincing emendation has been
a construing which the punctuation in our text assists. (Wilamowitz, on suggested. Herwerden's έ ς τ ρ ί τ ο ν ... φέγγος, "on the third
the other hand, takes the relative, though plural, to refer only to light= day" (i.e., "the day after tomorrow", by Greek reckoning), is a
ήβης 'Jugend') possibility.
290 your father and your mother both abandoned (προύδοσαν) you: thus 334-5 full profit etc.: the "profit or loss" motif recurs frequently in this
Alcestis picks up Admetus' somewhat rhetorical pleas (202, 250, 275) play, especially with regard to Admetus' situation; cf. w . 553-60,
that she should not betray/abandon (the word can be used in both 600-5, 935-40, 960-1, 1032-3, 1079. And the motif has already
senses) him by dying. It is Admetus' parents, she quietly asserts, who been anticipated in the Prologue (at w . 55-9), as both Apollo and
have done the "betraying." No doubt, as Rivier (1972), 135, suggests, Death employ it, each with a touch of black humour, to support their
Admetus means "abandon" rather than "betray"; nevertheless, the fact respective arguments against and for the untimely death of Alcestis.
that the poet has Admetus use this ambiguous and (in the context) 338 - 9 even as I continue to hate ...: whether or not Admetus'
somewhat surprising word three times cannot be entirely accidental. indignation be regarded as justified, this bitter repudiation of his

168 169
 parents (anticipating the scene with Pheres) would surely have shocked Dicaeopolis makes a similarly "moving" prayer with regard to an eel.
a Greek audience even more than it does us. On the Greek attitude This raises the question whether the Greek audience would have been
toward parents and the duties owed to them by their children, see K. expected to regard Admetus' whole long speech as, in the
J . Dover, Greek Popular Morality (Oxford 1974), 273 - 4 . Of the circumstances, satirical (on the poet's part) at the speaker's expense.
several references there given, note particularly Soph. T r a c k . 797 ff. On the whole, I am inclined to accept Dale's view (see her note ad
and 1221-9 where, as Dover observes (p. 274), "Heracles ... treats l o c . and her introductory comments on "the Characters and the
his son Hyllus as an object at his disposal". Action" at xxii-ix) that Euripides has simply supplied Admetus with a
343 —41 will put an end to revels etc.: this declaration effectively "sincere" conventional speech appropriate in feeling to the occasion of
precludes any further hospitality in Admetus' halls, since entertainment bereavement and in length to the speech of Alcestis which it answers.
of the kind here described would be considered an essential duty of a Nevertheless, the more egregious promises which it includes are, in a
royal host. Certainly the entertainment of Heracles is to involve sense, "planted" for the purposes suggested above and there may also
drinking, garlands and music (see the Servant's complaints at w . 756 be a touch of the sardonic in the macabre intention expressed at w .
ff.), though it is Heracles himself who has to supply the singing and 348 ff. and in the latent irony of Admetus' preparations for his own
the convivial element is lacking due to the absence of Admetus. death in the comfortably vague future.
348-9 A likeness of your person etc.: l i t . "your body having been 381 Time will ease your pain; the dead are as nothing: the first of these
represented by a likeness etc." Admetus uses the word for a living statements of Alcestis anticipates, with grim irony, Heracles' later
body (δέμας) rather than a dead one: this macabre promise of consoling of Admetus (1085), as he attempts to persuade the King to
Admetus anticipates the final scene. Cf. especially 1061 ff and replace Alcestis with another woman, a new wife (1087). Alcestis'
1119—22, particularly Heracles' mischievous π ρ έ π ε ι ν ("to resemble"), second statement anticipates Admetus' own (in the circumstances
used of the real Alcestis, as Admetus lifts the veil. somewhat shocking) statement to Heracles (541), when he is seeking
to persuade that hero to accept his hospitality despite the signs of
Wilamowitz, here cited by Dale, thinks that Euripides is borrowing
mourning in the palace. In both cases, the same words are used in
this motif of the image of the deceased beloved from another
the later statements.
Thessalian legend, that of Laodameia, who in grief for her deceased
husband kept his painted image in her bedroom. Euripides treated this 385 ff. Each detail of Alcestis' final moments reflected in this passage of
myth in his (lost) P r o t e s i l a u s . However, Admetus' declared intention dialogue repeats precisely what has been expressed in the earlier
seems considerably more macabre. lyrical treatment of the death: 385; cf. 269 (darkness settles over
354 lighten the burden of my soul: there is a metaphor involved in the Alcestis' eyes); 387, 390; cf. 271 (Alcestis declares she no longer
Greek word employed here (άπαντλέω: "draw off", as of bilge—water, exists); 386, 391; cf. 275, 277 - 8 (Admetus himself is devastated,
άντλος, from a ship's hold), which does not come through in the "finished").
translation.
357 ff. Orpheus: so charmed the powers of the Underworld with the Monody 393-415
sweetness of his song that they allowed him to lead his beloved Metrical considerations indicate that this brief ode, sung by the Son of
Eurydice back to the upperworld, provided he did not look back at Admetus and Alcestis (the name Eumelus is almost certainly a later
her. He failed through being unable to resist doing so. Admetus' idle addition to the text) is incomplete in places and at least mildly corrupt in
wish that the infernal powers might be charmed into returning Alcestis others; for a discussion of the difficulties and numerous suggestions made,
looks like an oblique reference on the part of the poet to the version particularly concerning the colometry and the missing elements, see Dale's
of the myth according to which Persephone did actually restore lengthy note. The different lengths of the strophe and the antistrophe
Alcestis as a reward for her noble self—sacrifice. See indicate a lacuna but the fact that the verses as they stand construe and
Introduction p. 32. make sense renders it difficult to know where (whether as a unit or in
366- 7 to stretch my form by yours: with the erotic language of this parts) to fit in the missing elements. Solutions would appear to be, even
passage, Collard, in his edition of Euripides' Supplices (Π.370), for the skilled metrician, a matter of enlightened guesswork. Diggle (whose
compares similar descriptions such as Soph. A n t . 1223, T r a c . 1225 text is translated here) indicates a single lacuna of one and a half verses
and Eur. Suppl. 1021. following v. 410. This conjecture provides perhaps the easiest place to fit
367— 8 when I too have died ...: the clausula to Admetus' speech has in a complete lost statement and has the further advantage of explaining
been parodied by Aristophanes at A c h a r n i a n s 893-94, where the lack of responsion for v. 398 which is, however, daggered in Diggle's

170 171
text. Euripidean passages in which a lyric monody interrupts a dramatic episode
Nevertheless, the metrical and (largely consequent) textual problems of near its conclusion are to be found at H i p p . 669 —79 and at T r o . 278 —91.
this little monody should not distract attention from its moving quality. However, in these cases the dramatic passage following the monody begins
Weber comments: T h e dochmiacs preferentially used in death-laments or (as at T r o . 294 ff.) introduces a new development in the dramatic
strikingly achieve their full effect through the child's clear voice." (Weber, action. Only in the case of the present example is the lyrical interruption
45). No doubt the assessment is sound (though how he knows that the followed by a little scene which may properly be said to bring the
child is "about ten years old" [see his note ad /oc.] is not as clear). Nor preceding episode to a gentle conclusion.
are the words of this monody purely conventional, for even as the poet 424 a paean without libation to the god below: the paean, a song of
supplies what form and custom would appear to dictate as appropriate to praise usually accompanied by libations, is not normally sung to the
the child's grief, he slips in expressions which have a more than an infernal gods. Cf. Dale's references and comment ad l o c .
incidental bearing on the theme of the play (see, for example, 411-15
and notes ad l o c . ) . Second Stasimon 435-75
On children's roles (including the present one) in Greek Tragedy, see This ode completes the first movement of the play which has dealt,
G. M . Sifalkis, "The Children of Greek Tragedy", B I C S 26 (1979) 67 - 8 0 , in a variety of ways, with the death of Alcestis. It is devoted entirely to
esp. 69-70. praise, with some lamentation, of the Queen and is addressed directly to
399 hands hanging loosely by her sides: the unusual word παράτονους her. The first strophe bids farewell to Alcestis and reminds Hades and
perhaps draws attention to this pathetic effect. Charon of the treasure, "the best of wives", which they are receiving. The
400 Hear, Ο hear ... (ΰπάκουσον άκουσον): the repetition (a "pathetic" antistrophe prophesies to Alcestis the fame which will be hers in future
device on which we have commented above, Note on v. 259) is here songs and festivals. The second strophe returns, again regretfully, to "the
answered by the repetition of the adverbial accusative άνόνατ' resurrection theme" ("if only I had the power to bring you back ...") and
("vainly"), at 412, the corresponding verse of the antistrophe. to exhortations to Admetus that he not forget his promise to take no other
407 alone: μονόστολος is the somewhat unusual adjective, at least in its wife. The antistrophe returns to the "best of wives" theme (had the
metaphorical sense, here translated. As the Scholiast tells us, it is Chorus found such a mate as Alcestis, she would have been a pleasing
used in its literal sense of "single—ship" expeditions. companion all their life long! — cf. 175 and note) but includes as well an
411—13 Uselessly, to no profit did you marry: the son's view of his oblique contrast between youthful self—sacrifice and the selfishness of
father's marriage stands in precise contrast to Admetus' own father's Admetus' aged parents. And so this ode, though its main function is to
view of that marriage: "Such marriages are a real profit to mortals!" look back on Alcestis' noble deed, provides as well anticipatory hints of
(627-8; cf. also 699-701 and notes ad l o c . ) . the "Pheres scene" and of the "resurrection scene" to come.
436—44 The opening stanza develops, from Alcestis' own "death visions"
Second Episode, Part (ii), 416-34 at 252 ff., the familiar mythological eschatology, i.e., the sunless
This brief passage provides a tranquil and, as it were, resigned realms, the Acherontian waters, peopled by Hades and by the grim
conclusion to the highly emotional tensions of the parting of Admetus and ferryman, Charon; contrast the simpler, more primitive presentation of
Alcestis in the "death scene." Admetus is observed making suitable Death and of the defeat of Death at the beginning and end of the
arrangements for the funeral and mourning of his deceased wife. The play.
year's interdict on music in the city (430-1) reminds us of Admetus' 446—7 the seven—tone mountain lyre: Hermes made the first lyre by
promise to Alcestis of no more music or entertainment within his own stretching the strings over the shell of a tortoise (χέλυς), living in
halls (343—7) and provides, perhaps, an ironic anticipation of the reversal the mountains (Homeric Hymn t o H e r m e s , 33); hence the word was
of both these pronouncements which the hospitality to Heracles is soon to sometimes used, as here, for "lyre".
entail. 447 hymns ... for the voice alone: l i t . , "lyreless (άλύροις) hymns". There
The interruption of the Second Episode by the Child's monody has is some ambiguity between the two connotations of the word
provided a suitably moving lyrical complement to the emotional climax "lyreless", viz., unsuited to festivities, with which the lyre was
which precedes it. After this, the little iambic scene with which the associated, or, simply, "unaccompanied". Here the specific physical
Episode comes to a close provides, in turn, a sort of dramatic appendix, description of the instrument to which the contrasted songs, in the
an emotional diminuendo, as it were, after the climax of death and its preceding phrase, are sung, indicates that the latter meaning is the
accompanying lamentation which we have just experienced. Other one intended.

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448 —9 When ... at Sparta the season of the Carnean month comes 475 without causing me pain: άλυπος, the Greek word used here, could
around: the prophecy in this passage of Alcestis' future fame being also be taken in its passive sense, "without being pained", "free of
celebrated at the Carneian festival of Apollo at Sparta may provide a pain or trouble." In the Chorus' mouth, the latter sense seems
hint of where the Admetus—Alcestis myth first achieved more than unlikely (they would hardly intend an insulting comparison between
local (i.e., Thessalian) currency; it may even suggest where the their own and Admetus' appreciation and treatment of "such a
Apollo—Admetus myth and the folk—tale of the self—sacrificing bride wife"!); nevertheless, there may be an ironic ambiguity on the poet's
(see Introduction Π) first became joined together, but this, of course, part.
is sheer conjecture.
The text provides some difficulty, κύκλος, the reading of most of Third Episode 476-567
the MSS, yields no satisfactory translation which does not strain the With the sudden arrival of Heracles (the lack of warning marks a
syntax, though various suggestions for taking κύκλος ("circle") slight departure from the usual dramatic convention governing entries), "the
absolutely ("cycle of the year") have been made. (Van Lennep would hospitality theme", which, as we have seen, has played a minor part in
take ώρας as accusative but π ε ρ ι ν ί σ ε τ α ι cannot be used the Prologue and in the preceding scene, is reintroduced as the major issue
transitively.) Diggle (in the text translated here) and Dale (in her of the episode. Here Admetus' compulsive hospitality is pitted against his
notes) accept Scaliger's emendation, κυκλάς, as an adjective promise to Alcestis of no more entertainment in his halls (cf. w . 313 ff.
("revolving", modifying ώρα), though this meaning of κυκλάς is and note) — and wins. To persuade Heracles to stay as a guest, despite
doubtful at this date. the obvious signs of bereavement and mourning about the palace, the King
450—1 the splendour of the all—night moon: the time of the full moon must convince the hero that it is merely an "outsider" (cf. the note on
was regarded as the best for ritual as for various celebrations; cf., for όθνεΐος, w . 532—3), not a kinsperson who has died. The somewhat
example, Soph. O.T. 1090 ff., Eur. H e l d . 748 ff. and Collard's note tortured dialogue of deception includes (at w . 518—29) a recurrence of the
on Eur. Supp. 990-2 (Collard, S u p p l i c e s , Π, 362). "life/death ambiguity", which is one of the motifs so congenial to this
452 and at rich and prosperous Athens: is Euripides referring to his own macabre play. Particularly important for the interpretation of this scene and
and to Phrynichus' earlier treatment of the A l c e s t i s legend? The perhaps of the play as a whole is the little exchange (after Heracles has
congratulatory adjectives describing Athens suggest, perhaps, an been persuaded) between the Chorus and Admetus (551-67), together with
anachronistic contemporary reference. its complement in the Chorus' conclusion on the matter, in the final
458 from the streams of Cocytus: some editors reject this verse since there stanza (597-605) of the following ode.
is no corresponding verse in the antistrophe; it has been "explained" 476 Strangers: ξ έ ν ο ι , the Greek word used here, can also mean, in
as an addition, providing "streams" for the "oar" of the following accordance with the context, "guests" or "hosts". It is appropriate that
verse to work on. If we accept 458, then we must accept a lacuna the scene which reintroduces the "hospitality theme" should begin with
(for which, indeed, there are some independent arguments) before 469 this ambiguous "guest-host" word. Cf. v. 484, where the same
to account for the lack of responsion. (See note to 468.) ambiguity attaches to the word ξένος used of Diomedes, who will
Cocytus: the river (also known as the Styx) which surrounded Hades. prove an inhospitable "host" indeed, and (more significantly) v. 568,
460-2 you ... had the courage, yes, the courage (έτλας < έ τ λ α ς > ) : the where the opening words (ώ πολύξεινος οίκος, "Ο house so
metrical responsion with v. 472 in the antistrophe confirms the hospitable") of the ode following this scene, celebrate the house of
supplement to the text and provides another example of Euripides' Admetus, which Heracles now approaches.
tendency (see Note on v. 259) to repeat verbs for emotional 481 Eurystheus of Tiryns: all of Heracles' Labours were performed at the
emphasis. command of this usurper of Heracles' domains, acting under the
463-5 any new mate: the Chorus' (prophetic?) warning shows us that jealous Hera's orders and with her help. (Euripides presented tragic
Admetus' later fears (1057-60) of citizens' censure, if he should take versions of the destinies of Heracles and his children in Heracles
"the stranger woman" into his marriage bed, are not idle. Furens [Heracles C o n e Mad] and in Heracleidae [The C h i l d r e n of
468 nor his aged father: those who believe that there is no lacuna after Heracles] but also made him the roystering and often violent hero of
this verse (see above, on v. 458) accept a (fairly easy) anacoluthon: various satyr plays, Syleus, B u s i r i s , E u r y s t h e u s , which, though we
as it stands the sentence lacks a main clause. The translation simply know something of their content, are no longer extant.)
treats the nouns in the genitive absolute construction in the Greek as 488-9 The Chorus' and Heracles' statements of heroic readiness revive
if they were subjects of an independent statement. for a moment the "life/death" ambiguity recurrent in the play and

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 provide an ironic anticipation of Heracles' actual struggle with Death. above, note to v. 16); γυνή can mean both "woman" and "wife".
This effect reaches its climax with Heracles' speech a few verses later Thus, Admetus' answer at 531, though meant to deceive, is not
on his destiny (499 ff.), with its ringing clausula: "No man will ever technically a falsehood. And when he adds, "It is a woman (wife) we
see Alcmene's son trembling before the foeman's might". have been speaking of just now", his "just now" (άρτίως) refers just
498 master of the gilded Thracian shield: some editors (e.g., Hayley), as much to 518-28 (when the talk was of Alcestis) as to its
following the Scholiast, think that the word for "a light shield" ostensible reference to the corpse mentioned at 513 to whose identity
(πέλτη) is here used metonymously for its bearers, so that the Heracles has now (530) returned.
expression would mean "master of gold-armoured Thracian 532-3 Someone outside the family: ό θ ν ε ϊ ο ς (cf. 646, 810), the Greek
targeteers", rather than "master of the gilded Thracian shield". The word used here, is an unusual expression to use of one's wife. In the
reference to gold is a reminder of the well—known Thracian sense of "not kin", it may technically apply to Alcestis, though even
gold—mine, but as Dale observes, even in Thrace ordinary peltasts in this sense it usually applies to an outsider, sometimes in a hostile
would hardly carry gilded shields. sense (cf. Plato, Rep. 470 Β 7). Besides, as van Lennep points out,
502—3 Lycaon ... Cycnus: these are two other sons of Ares with whom ad l o c . , "When a Greek woman married, she was transferred from
Heracles did battle. the community of her father's genos [family] and its domestic cult to
510-11 Admetus pretends to understand Heracles' traditional greeting those of her husband". When Heracles uses the word (here and again
literally: it is rather less emphatic than the translation "Rejoice!" at 810), he is obviously not thinking of it as applicable to Admetus'
suggests. (Compare the dour literalist's reply to "Good day!".) wife; Admetus picks it up here, because he feels it can just be
514 God keep this woe from your children: As Dale notes (and as applied to Alcestis (and so save him, technically, from lying) though
Admetus' answer indicates), Heracles' "prayer" concerning Admetus' he knows it will not be understood in this sense. He is to use it
children is a formulaic way of suggesting a question which, directly again in a still more ironic context, at 646, where, in his bitter
asked, might be ill—omened. Heracles' next comment (in effect, that indictment of his father, Pheres, he points out that this γ υ ν α ϊ κ '
Heracles' father was, in any case, ripe for death) prepares us for όθνείαν, "this stranger woman/wife" was willing to die for him when
Admetus' later scathing attack on Pheres for not being ready to his parents were not. The word γυνή at 531 assists in the ambiguous
depart this life. When Heracles reaches the third and most worrying deception of the present passage. (On the poet's use of ό θ ν ε ϊ ο ς in
possibility (namely that it might be Alcestis who has died) he can no these passages, cf. also W. Smith, "Ironic Structure in A l c e s t i s " , 135.)
longer conceal his concern beneath a euphemism. The whole sequence 537 What action do you hint at ... : metaphorical translation; literally, the
gives a nice indication of the mounting tension of the dialogue. (On verb (ύπορ&πτειν) means "to sew beneath".
the passage which follows, 518-29, see the note above, on the 539 My lord, that cannot be! For "Admetus the hospitable", this — the
episode 476—567 as a whole.) loss of a guest — is the worst of all evils.
527 The difficulties (with the exception of the metrical fault in P) which 541 The dead are dead: surely rather a shocking statement, even allowing
editors find in the various MSS versions of this verse, may be due, for its possibly "formulaic" nature, in view of the King's protestations
like the variety of readings itself, to the rather desperate "logic" by to Alcestis during the "death scene." So also the caution expressed a
which Admetus seeks to allay, without actually lying, Heracles' concern few moments later (at 548-50) with regard to feasting guests being
that it may be Alcestis who has died. A direct lie was considered disturbed by the cries of mourners, seems rather to reverse the
unworthy of a hero (cf. the various ambiguities in which Ajax concern expressed (e.g., at 341—4) in that scene.
indulges in his celebrated "deception speech" [Sophocles Ajax 646-92] 542 Apart from the (possible) variants φίλους (or φίλοι ς) "friends", for
when hiding his intention of suicide from Tecmessa and the Chorus.) ξένους (or ξένοι ς), "guests" (see app. c r i t . ) , the main textual
528 existence and non-existence: there is, perhaps, a sophistic overtone, problem in this verse is a metrical one. Without Dobree's emendation
ironical in view of the speaker, in this contrast. Cf. 57-8: Apollo's < γ ε > (which makes a tribrach of the second foot), the second
"surprise" at the unexpected hint of "cleverness" in Death's remark syllable of παρά needs to be lengthened before the following mute
about nomos (law). and liquid consonants beginning κλαίουσι, and there are no certain
530-1 friends: φ ί λ ο ι . There are several ambiguities in these lines which parallels for this in iambic trimeters (cf. Dale's note). Dawe's clever
are difficult to express in English, φίλοι can refer to "loved ones" of emendation παρ· άγκλαίουσι(Κ>Γ άνακλαίουοι), with comparison to
varying kinds and degrees: friends, free members of one's household, Dobree's similar emendation for similar reasons, at 7.T. 230, should
relations by marriage (including husband and wife) or by blood (cf. also be considered.

176 177
544 a thousand thanks (μυρίαν ... χάριν): polite hyperbole, laced with "virtue" bought at such a price (including the hero's personal loyalty
dramatic irony on the poet's part, for Heracles is actually going to and integrity) is no virtue at all? Whichever interpretation one
owe (and to repay) much m o r e gratitude (χάρις) if Admetus does not chooses, the choice is not made clearer by concentrating exclusively
not let him depart. Cf. 842, 1101. on the prize and ignoring the price which is paid for it.
551-2 The initial reaction of the Chorus - and presumably of the 559-60 this lord the best of hosts: reciprocal hospitality was an unending
audience - to Admetus' indulgence in hospitality in the midst of obligation and Admetus is looking to the future as well as to the past
mourning for his wife is one of shocked disapproval and Admetus in his relations with Heracles.
himself admits (a little later) that he will seem to some to be lacking 560 thirsty Argos: "thirsty" is a Homeric epithet of Argos (e.g., at //.
in sound moral judgment (ού φρονεί ν δοκώ, 565). Only after 4.171). Traditionally Argos was once lacking in water (see Apollodorus
recalling (in the next ode, 568 ff.) Admetus' famed hospitality, 2.1.4); Poseidon's restoration of water to Argos (also told in the
particularly toward Apollo, do the Chorus console themselves (602 -5) Apollodorus passage) was apparently the subject of Aeschylus'
that the decisions of a good man are wise (see note on 603) and that Amymone, the lost satyr-play of his Danaid trilogy. The more usual
(as in the case of the hospitality shown to Apollo) virtue will bring its Homeric epithet for Argos is "horse—nourishing", which implies grass
reward. and so moisture. Apart from the mythological explanation (above) of
On the ambiguous term μωρός, here translated "insensitive", see the contradiction involved, the two epithets could well apply to the
Denniston's good note on Eur. E l . 50-53; I do not, however, agree dry eastern part and the well—watered western part, respectively, of
with him that in the present passage ( A l e . 552) it is the more the Argive plain. (On this latter point, see Leaf and Bayfield's note
"honourable" meaning, "foolishly chivalrous", which is intended. to I I . 4.171.)
555-6 Note again the recurrent "profit/loss motif": here it is Admetus'
gain, exclusively, which is under consideration. Third Stasimon 568-605
This, then, is Admetus' answer to the Chorus' charge of "folly" The first "Heracles Episode" is followed, appropriately, by an ode
(552) for receiving a guest when he is mourning his wife: namely, celebrating the hospitable home of Admetus. It is the prettiest ode in the
that if he turned Heracles away, he would g a i n nothing; his loss play (written in a gentle and joyful metre, resembling the
would be in no wise diminished, but he would suffer the charge of dactylo—epitrite), as indeed it is the only one with a serene and peaceful
inhospitality. Dale's concluding comment (p. 98 —99) on this whole theme. (As such, it may perhaps be compared with Euripides' "escapist
passage — and on the Chorus' praise in the following Chorus for odes", which tend to appear at the most grievous or crucial moments in
"Admetus the hospitable" — is to appeal again to dramatic many of his tragedies.) The first strophic pair provides a sort of pastoral
convention: idyll, describing the visit of Admetus' most glorious guest, the god Apollo,
To a Greek dramatist the natural way to make such a point [i.e., playing his lyre and charming even the wild animals as he serves as
concerning the paramount claims of hospitality] tell is by rhetorical shepherd in Admetus' domain. The third strophe describes the generous
argument — to raise an objection (the Chorus shows at first shocked boundaries of that rich domain. Then the final strophe returns to the
disapproval which is the ordinary man's reaction to such conduct) current example of Admetus' hospitality: the welcoming of Heracles as
and then to over—rule the objection, stating the moral grounds for guest, even as he mourns his wife so recently deceased. But even as the
such a π ρ ο α ί ρ ε σ ι ς (choice). The Chorus is convinced ... Chorus marvels at this, as it were, exaggeration of Admetus' celebrated
This sounds convincing, if all that one considers is the dramatic virtue, they now find confidence (reminded, perhaps, of the gratitude of
convention, but Euripides has a way of exploiting dramatic conventions that other illustrious guest) that a man so pious (θεοσεβή 605) will
for his own purposes. Dale's argument ignores the fact that it was assuredly fare well.
Admetus himself who declared that his mourning would never be 574 to serve as shepherd in your fields (νομοίς): Pierson's correction of
breached by entertainment in his halls, who now declares that the δόμοι ς of the MSS seems gratuitous. As Collard notes, CR 36 (1986)
dead are as nothing, and who further declares (quite wrongly in the 20, the emphasis in 564 is on Admetus' ο ί κ ο ς (home). Weber (who
circumstances, as the Chorus' surprise — and later, Heracles' own also retains δόμοι ς) refers to 588 where Admetus' home or 'hearth'
surprise — at his reception of Heracles show) that his house will be (έοτίαν) is called πολυμηλοτάταν ("rich in flocks").
called inhospitable if he turns Heracles away. Is Euripides bent on 577 pastoral mating—songs: the poetic conceit here involved implies,
showing that such hospitality as Admetus shows is a glorious perhaps, that Apollo's music helps the fecundity of his host's,
achievement, whatever the price, or is he rather showing us that Admetus', flocks. (It is not until the antistrophe that we are

178 179
 concerned with wild animals.) insufficient heed to the implications of έκφέρεται. Hayley meets the
578 ff. Apollo's charming of wild beasts with music is, perhaps, borrowed difficulty by the rendering (in his note ad l o c . , "for natural nobility
from myths of Orpheus with whom this miraculous power (in his case, of soul is impelled too far toward respect for another's rights". (Both
of voice) was more usually associated. these versions stem from Monk's view of the passage, to which
580—1 Othrys was a well-known Thessalian mountain range. The lions, Uoyd-Jones refers.) So, too, Dale, who believes that the Chorus'
however, are probably only there by poetic license. view (viz., that "Nobility tends to carry its chivalry almost too far") is
590-6 The precise meaning of this sentence, and the text of 593-4, are soon qualified (though not till the next sentence) by their confidence
uncertain. The Chorus appears to be describing the boundaries of that, in the case of the noble man, "this excess is really good sense".
Admetus' domain "on the west" and "on the east" respectively (these 603 This verse might also mean: "In good men all qualities are present: I
phrases are added to the present translation). The western boundary is admire their wisdom". Both translations given follow the punctuation
obscured by the odd expression t α ι θ έ ρ α xfcvt Μολοσσών at 593 (before σοφίας) in Diggle's text (which in turn follows a
(here translated as " t h e sky over t h e Molossians") as well as by a recommendation in Dale's note). However, despite the odd sound of
lacuna of three syllables in 594, as the corresponding verse, 603, in πάντ(α) ... σοφίας, the punctuation of the manuscripts may perhaps
the antistrophe, indicates (provided that άγομαι in that verse is sound). give the better sense: " A l l wisdom resides in noble men: I can but
At v. 595, several editors (e.g. Mdridier, Murray, van Lennep) read admire".
Αιγαίων·, citing the Scholiast though actually he gives both this and 604 Then in my heart sits confidence: for the metaphor, compare Aesch.,
the MSS reading α ι γ α ί ο ν · . Αιγαίων· (with θράσος for θάρσος at A g . 982-3.
604, for the sake of responsion), as an adjective modifying άκτάν 608 to its last resting—place: the l i t e r a l translation of this line ("They [the
(governed by έ π ί ) , is almost certainly right; as Dale points out, attendants] are carrying [the corpse] aloft to the burial and to the
Admetus' domain is not a thalassocracy. (On the text and metre of pyre") may seem at first puzzling in that there can be no question of
595 -604, see also Diggle, Studies, 72.) cremating Alcestis' body (cf. 365 ff. where Admetus speaks of
600—1 For his noble nature is carried to an extreme of guest—reverence full—bodied burial for himself beside his wife, and, of course, the
(αιδώ): this is one of the most difficult passages in the play to denouement of the play). Perhaps this is simply a conventional
render satisfactorily, for it seems to combine muted criticism with funereal phrase (cf. also 740) in which πυρά is not always thought of
admiration for Admetus' hospitable entertainment of Heracles in the in its literal, or at least original, sense. Cf. Dale's note for references
present sad circumstances. Αιδώς, in its subjective sense, normally to similar, if slightly less paradoxical, uses.
connotes a good or praiseworthy quality, either a proper sense of
shame, or a sense of respect, of reverence even (for that which Fourth Episode, Part i , T h e Pheres Scene" 614-746
deserves shame or reverence, respectively) and so it does here, This scene provides an early Euripidean example of the a g o n , or set
έκφέρεσθαι πρός on the other hand, which suggests an debate (usually acrimonious in tone) between two opposed characters, which
inclination toward something, is (as Dale points out, referring to Soph. was a recurrent feature of Greek Tragedy. Euripides, the most rhetorical
E l . 628), "more often used of undesirable impulses". Thus the run of of the three great tragedians, is particularly noted for his development of
the sentence, with the obviously good quality τ δ ... ευγενές the agdn—scene: see Jacqueline Duchemin, L ' A g o n dans la Τ rage d i e
("nobility") as subject of έκφέρεται, clearly implies some kind of grecque (Paris 1945) and C. Collard, "Formal Debates in Euripidean
declension from nobility. When what that nobility is tending toward, Drama", Greece and Rome 22 (1975) 58 -71. More than one critic has
or being drawn away toward, is another normally "good" quality, one remarked that such scenes seldom, if ever, affect the dramatic action.
can only infer that this latter quality is regarded as being carried to Nevertheless, beyond their rhetorical effect as set pieces, they may
what, in the present context, is a questionable extreme. This indeed sometimes contribute substantially to the meaning and understanding of the
fits well with what the Chorus might be expected to say of Admetus' play and its characters. (See my article "Rhetoric and Relevance in
exercise, in the present situation, of his generally admirable quality of Euripidean Drama," A J P 102 (1981) 3-25, especially pp. 5-9.)
guest—reverence. The present example, comprising the exchange of mutual revilements
This view of the passage agrees, to a greater or lesser degree, with between Admetus and his father Pheres, is, perhaps, one of the most
those of several scholars who have discussed it. Lloyd—Jones' version bitter agdn-scenes in extant Greek Tragedy. The episode begins quietly
(in a review in Phoenix 39 [1985] 276), "Nobility carries a man to enough, as Pheres offers his adornment of Alcestis' tomb in gratitude for
the point where he shows regard toward others", seems to me to pay the sacrifice which has preserved his son for him. It is Admetus' furious

180 181
repudiation of Pheres and his gifts, since he blames Alcestis' death on his was, however, called on to make a rather more extreme demonstration
parents' refusal to die in his place, which begins the quarrel. For the main of that duty.
thematic point presented in the scene (namely Admetus' dawning 662—4 Admetus' sarcastic advice to Pheres to hurry up and sire more
realization, induced by Pheres' taunts, concerning his own reputation) and sons if he wants to be looked after in his old age, is paralleled by
for the possible bearing that Admetus' castigation of Pheres (especially at Pheres' advice to Admetus, at 720, to keep marrying other wives to
666—8) has upon our understanding of his own character, see Introduction, die for him. These and other parallels in the black humour of this
pp. 40—1 and p. 45, respectively. agbn only reflect, of course, the basic similarity of the two
In form, the episode follows one of the simpler structures of the antagonist's positions, as each accuses the other of causing Alcestis'
agon—scene. Accusation and defence (or counter—accusation) are made in death by being unwilling to die himself.
a pair of set speeches (629—72, 675—705) from Admetus and Pheres, 668 and loving old—age nurse: this is surely the high—point in the bitter
respectively; the speeches are separated by a distich from the unconscious irony of Admetus' speech, for he himself, by accepting
Chorus—Leader and followed by a stichomythic exchange of mounting Alcestis' sacrifice of her life, has ensured that she will not enjoy an
vehemence between the two principals. This exchange culminates in two old age for him to tend like a devoted son. Moreover, it seems
brief speeches embodying parting threats from each participant (730—3; probable that Admetus' disowning of his father, whatever the grievance
734—40, respectively). At 739, Admetus turns back to his own concerns, he might feel he has against him, would have been shocking to a
the funeral of Alcestis. The scene ends with a brief anapaestic chant of Greek audience.
farewell (741—6) from the Chorus to the deceased Queen. 675-705 Pheres, as presented in this scene, is without doubt one of the
621—2 nor to pine away, deprived of you, in sad old age: for the most unpleasant (of several unpleasant) characters in Euripides.
Greeks care in their old age was one of the most sacred duties (and Nevertheless, his harsh but effective indictment of Admetus in this
one most sanctified by tradition) which parents looked forward to speech and in the following dialogue should not necessarily be
receiving from their children. After the expectation here expressed by regarded as completely unjust, or even as completely unrepresentative
Pheres, Admetus' repudiation at 662 ff. is all the more bitter. of "the general judgment" of the King, as Dale claims in her note to
627-8 such marriages are profitable for men: again "the profit motif 697. Admetus makes no rebuttal of Pheres' warnings at 705
recurs. The sardonic note in these verses probably belongs to the poet concerning the likelihood of unfriendly gossip and at 730 concerning
more than to speaker, but certainly Pheres himself adopts it when, in the vengeance of Alcestis' kinsmen. And later Admetus is to express
anger, he expresses a similar sentiment at w . 699 —701. similar fears himself about his reputation and about the handle which
636-41 surely you could never have been the father ...: critics who have he has given to malice (see 954-61 and note ad l o c . Cf. 937 - 4 0
taken the King's declaration too literally here have been puzzled that where there seems to be an implicit contrast between the reputations
he would thus cast doubt on his own legitimacy, and some have which he feels that he and Alcestis, respectively, will enjoy).
suggested excision, in whole or in part. But the verses are clearly 683-4 no ancestral mandate, nor any Greek law: with Pheres' rebuttal of
rhetorical — and more effectively so without Murray's question marks Admetus' expectations, here, we might compare Death's complaints in
at 636, 638a, and 639 (of which Dale approves) which render the the Prologue that Apollo would set up new laws to protect the young
sarcasm more obvious and so less effective. (If Admetus himself - or at least the wealthy young. For a comparison of the role of
actually believed that Pheres was not his father, the rest of his Pheres as "Old Age" with that of Death (and even of Admetus
outburst would lose most of its point.) Cf. also M . Griffith, "Alcestis driving off Pheres with that of Heracles defeating Death!) see Burnett
636-41", H S C P 82 (1978) 83 - 6 who cites other passages to indicate (1971) 63.
that this indignant rhetorical ploy was something of a t o p o s . 695 transgressing your own fated destiny: Pheres is (naturally enough!) the
646 no blood relation (γυναϊκ' όθνείαν): cf. 532-3 and note. first to raise this point but it is one which Admetus himself comes
651-2 These verses have been deleted because of their near-identity back to later in the play: see 939 and note.
with w . 295 - 6 , where Alcestis is making the same point (and where 704-5 Pheres provides a stinging clausula to his speech and one which
the verses are less detachable: see 297). Admetus is to remember later (cf. 954-61). This is the first time
660 grateful return (χάριν): The dramatic exploitation of c h a r t s in the that any suggestion has arisen that Admetus' own reputation will suffer
play is given a new twist in this sarcastic statement. Admetus is as from Alcestis' sacrifice.
conscious of the gratitude his parents owe him for being a dutiful son 709 it was not right for you ...: the precise meaning of this line and the
as of the gratitude he owes Alcestis for being a dutiful wife. Alcestis next is difficult to express in English since the word έξαμαρτάνω

182 183
 sometimes does, and sometimes does not, have a moral connotation. 747 -72 This speech of the Servant (especially w . 760-3 and 767 ff.,
Admetus uses it in the former, Pheres (in the next line) rather more where the clash of roystering guest and mourning household is most
in the latter, and perhaps more literal, sense. poignantly expressed) shows how thoroughly Admetus' promise of a
713-14 a longer life than Zeus: if Schaefer's correction μ ε ί ζ ο ν α for house of perpetual mourning (333-4) has been breached by his
1 1
μ ε ί ζ ο ν άν of the MSS is correct, Admetus verse expresses in hospitality to Heracles.
proverbial form, and with heavy sarcasm, the wish for a long life for The presentation of the grieving Servant, frustrated in his desire to
Pheres. Pheres, in v. 714, takes this as the equivalent of a curse. express his grief in ways so essential to Greek mourning, is a moving
726 Evil report won't hurt me when I'm dead: Pheres' disregard for his one. The figure of the faithful slave, or of the old family retainer,
reputation after his death would have disgusted the Greek audience. suffering with his owners' or with the house's adversities, is a
But for Pheres (as it was, perhaps, for Admetus) l i v i n g is the favourite one of Euripides', though only occasionally (as in I o n and
paramount consideration. E l e c t r a , for example) does the Servant's concern affect the
734-8 No one likes Pheres but this complete renunciation of a father by development as it does in the present scene.
a son would surely (as at 662-8) have shocked a Greek audience. At 747 - 9 Many a guest have I ... served at dinner: despite the real pathos
v. 737, Admetus even invokes (somewhat anachronistically!) the formal of the Servant's speech, this opening sentence serves notice, perhaps,
legal proceeding of άτιοκηρύζις(normally used for the renunciation of that the context of this scene (and of at least part of the ensuing
a son by a father). Van Lennep, who draws attention to this point conversation with guest Heracles) will be of a comic rather than a
and cites the ancient references for the legal practice involved, refers tragic nature. Indeed there seems to be a kind of anticipatory hint of
to Plato, Nomoi XL. 928 C, where Plato indicates that a conflict going the "slave dinner—serving scenes" of New Comedy.
to these lengths reflects adversely on father and on son. 756—7 This emphasis on the physical details of wine—drinking (in this
740 burial rites: Cf. note on v. 608. case indulged in by Heracles alone!) is suggestive of the satyr-play.
746 The Chorus and Admetus depart for the funeral of Alcestis, and the Compare Odysseus' plying of the Cyclops with wine at Eur., Cyclops
stage and orchestra are now left empty — an unusual occurrence in 414 ff. Compare also the contrasting songs (of revelry and of
the middle of a Greek Tragedy. (For other examples, see Aesch. mourning) at A l e . 760 ff. with the dissonant howls from the drunken
E u m . 231, Soph. i4/ajt 814, Eur. He/. 385, Rhesus 564). Victor Cyclops, on the one hand, and his terrified captives, on the other, at
Castellani, "Notes on the Structure of Euripides A l c e s t i s " , A J P 100 Cyclops 425-6.
(1979) 487-%, has argued that this break indicates "two acts" in the 760 singing raucously: another "satyr—play touch"; Dale notes the same
2
A l c e s t i s , with the servant entering at v. 746 to speak what Castellani expression at Cyclops 425 and at fr. 907N , probably from the
regards as a Prologue ιο the second half. (Cf. also C. R. Beye, Syleus, another satyr-play.
"Alcestis and her Critics", GRBS 2 [1959] 11-127). Castellani further 766 some wretched thief or mountebank: the Servant is apparently unaware
describes the two parts as "a tragi-pathetic 'first act' (1-746) and a of Heracles' identity; otherwise, he would hardly have spoken of him
comic—satyric 'second act' (747—1163), where "... the action of the in these terms (and then, not in a formally t r a g i c context).
latter undoes that of the former". The formal and even verbal 773—802 There are several indications in the style and content of this
parallels which Castellani notes between the two parts provide quite speech that Heracles is at least mildly in his cups as he delivers it.
striking support for the view that this is all part of a conscious design The opening apostrophe (ούτος: equivalent to "You, there!") is
on the part of the playwright. followed by a peremptory, critical question and the hero continues to
harp on the sullen looks of the Servant as being out of tune with his
Fourth Episode, Part i i , 747-860 own roystering mood. There are several slightly owlish notes in the
This scene, in which Heracles learns the truth - that it is the Queen instructions and rhetorical questions (e.g., at 779 ff., 792 ff.) as well
and not a mere outsider who is being mourned — begins the resolution of as in the ponderous assertions and antitheses (781, 784, 786). Once
"the hospitality theme". Heracles is shocked at his unwitting intrusion and again, the "life/death" motif is touched on, this time with a pinch of
(in an action parallelling that of Apollo before him) resolves to repay sardonic humour on the poet's part, since it becomes a cue for boozy
Admetus' hospitality by wresting Alcestis from Death. philosophizing of the "carpe d i e m " or "Gather ye rose-buds while ye
Several comic, or at least "satyric", features are to be observed in may" variety, at w . 782-91. It is not surprising, then, that this
this episode: see especially Notes on 747 - 9 , 756 - 7 , 760, 766, 773 -802 speech of Heracles has often been regarded as one of the signs of
(Heracles' boozy philosophizing), 790. "satyric flavour" in the A l c e s t i s (see Introduction pp. 14—16).

184 185
 In this connection, Ruth Scodel has drawn attention (in H S C P 83 suggested by the "elbow-lifting" image which, as he indicates, fits
[1979] 51-62) to the s k o l i o n or drinking-song ΑΔΜΗΤΟΥ ΑΟΓΟΣ, the well with the metaphor of "up-anchoring", [i.e., from a sullen state
Story of Admetus (identified as Praxilla 3 by Page), remarking that of mind], supplied by the verb μεθορμιεί.) Further, on the meaning
"the sympotic associations" of this skolion's subject (viz., "friendship") of πί τύλος, see now also Shirley Barlow, in her edition of Euripides
"are linked to the great sympotic speech at [Alcestis] 773-802". Trojan Women (Warminster 1986), 201.
778 mourning for someone not even in the family (Ουραίου πήματος 799 Since we're but mortal we should think mortal thoughts: this is a
σπουδή ν): thus has Heracles misunderstood (as he was meant to particularly ironic assertion among Heracles' several comments on
9
misunderstand) Admetus agreement with his word ό θ ν ε ΐ ο ς (see note "mortality", since the two principals in this tragedy of life and death
at 532-3). The misunderstanding and the play on the ambiguous word succeed, at least for the time being, in transcending their mortality -
ό θ ν ε ϊ ο ς is continued at 810-11, below, where (depending to some and in one case thanks to Heracles himself.
extent on the text read) the ambiguity is perhaps given a further 809 Far too guest-loving ...: the servant expresses of Admetus that excess
bitter twist. See note on 810-11. of virtue which has, perhaps, led to its opposite. Cf. 600-1 and
780 ί ο ί δ α ς ΐ is suspected because it is the only tragic occurrence of this note.
Ionic form of the verb. 810—11 someone not of the family: note again the play on the words
790 Honour Aphrodite as absolutely the sweetest of all the gods ... : the ό θ ν ε ΐ ο ς at v. 810, carried over (cf. 532-3) from the dialogue
association of drinking and sex is presumably another satyr—play between Heracles and Admetus and (if we read θυραίος as I think
touch; cf. Cyclops 581 ff., though there it is homosexual passion (for we should, at 811) from Heracles' admonition to the servant at 778.
Silenus of all creatures!) which assails the Cyclops. (Euripides considers Here, as in the first passage, Heracles understands ό θ ν ε ΐ ο ς (810) in
the relation of wine and Aphrodite more seriously at B a c c h . 314—8; the sense of "an outsider", "one outside the family". At 811, the MSS
cf. 773-4.) give the choice (see a p p . c r i t . ) between θυραΐος and ο ι κ ε ί ο ς , in
798 the mad fit of the wine cup so the expression π ί τ ύ λ ο ς ... the Servant's reply. Of these, θυραΐος is surely the right reading,
σκυφου is rendered in L S J s.v. πί τύλος, 3; nevertheless the precise though ο ι κ ε ί ο ς has slightly stronger MSS support, ο ι κ ε ί ο ς "of the
meaning of the passage has been much debated, π ί τύλος used to be household" would, as Dale rightly notes, give the show away too soon
regarded as a "sound—word", due partly to Hesychius' definition and Heracles is not to grasp the truth until 821—2. The Servant is
(πι τύλοι ς τοί ς ψόφοι ς τών ύδάτων), which suggests "watery perhaps giving Heracles' innocent ό θ ν ε ΐ ο ς ("outsider") a grimmer
sounds", partly to its frequent use in "rowing expressions" where sense, "outside the door/house" (the literal meaning of θυραΐος), for
(possibly because of a surmised onomatopoeic element?) it was thought the corpse of Alcestis has indeed been carried outside the house.
to indicate the plash of oars in the water. However, W. S. Barrett in (όθνεΐος, printed at v. 811 of the text given here, is based on a
his edition of Euripides, Hippolytos (Oxford 1964), 418-19, has suggestion in Dale's note that the Servant would be more likely to
argued from exhaustive exemplification that the word (at least in its pick up the word which Heracles has just used. There would then be
primary meaning) connotes repeated rhythmical movement rather than sarcasm ["Aye, all too much of an outsider was she!"] rather than
sound. Hence Barrett approves of Dale's view that in the present grim irony [which at least one editor has thought beyond the capacity
passage πί τύλος ... σκυφου means the "rhythmical elbow-lifting ... of the Servant] in the Servant's reply. But this reading, since it lacks
of the carouse" (Dale, to be sure, adds "and gurgling" which seems a any MSS authority and does not involve an absolutely necessary
t little like having it both ways). Nevertheless, in several of the correction, should surely be rejected.)
examples of πί τύλος cited by Barrett, the idea of "attack" or 818-19 These verses are bracketed in the text printed as a probable
"onslaught" (e.g., "of spears", at Eur. H e l d . 834; "of madness", at interpolation. The chief arguments against their authenticity are the
Eur. I T 307 and HF 816; see again LSJ) seems the most likely position of τ ε at v. 819, the unbalanced άντ ι λαβή in the same verse
meaning, though this sense might well be derived from the idea of and (see a p p . c r i t . ) the evidence of the scholiast at 820 who tells us
repeated movements, as in jabbings and beatings. In the present that "these three lines are missing in some manuscripts". Since 819 is
passage, moreover, the translation, "the mad fit of the wine-cup", written as two lines in V, some editors take the Scholiast to be
better accommodates the participle έμπεσών, "having fallen on you" referring to 818-19 only. However, as Dale points out, this seems a
(σοι, understood from σε, as Dale also construes the direction of the wrong interpretation since the scholium in question follows after a
participle's action). (It is true that one does sacrifice, by this comment on 820; moreover, 820 does not follow easily after 817. If,
interpretation, what Barrett mentions as "the play on oar-beat" then, the interpolation (if such it be) be taken as including 820, a

186 187
 verse from Heracles has presumably dropped out before the Servant's by itself the passage appears to provide ample support for the
answer at 821. interpretation of the play (favoured by not a few critics) as a simple
828 his talk of - someone outside the family ( λέγων θυραΐον κηδος morality tale of "Virtue Rewarded". We have noted reasons for not
κ.τ.λ.): still the verbal irony persists for, as we have seen, Admetus accepting this as the only tenable view of the King's hospitality to
(avoiding a direct lie) has not used the word θυραΐος of the dead Heracles. Nevertheless, it is clear that Heracles' admiration for
woman but (at v. 533) has picked up Heracles' word ό θ ν ε ΐ ο ς from Admetus' action (and for the King's respect for him as a guest:
the preceding verse, with the knowledge that Heracles will again take α ί δ ε σ θ ε ί ς έμέ, 857) exceeds any indignation he feels (and later
it as equivalent to θυραΐος. gently expresses, 1008—18) at not being taken into his friend's
832 And youl To think you didn't tell me: ooO as an exclamatory genitive confidence.
(as it is here translated) is "justified" by the epexegetic infinitive
which follows and also, perhaps, by the use of άλλά which is here Kommos (861-934) and Fifth Episode 935-961
almost the equivalent of an interjection (cf. Dale's note). The Admetus with the Chorus. These passages provide the most tragic
Scholiast's explanation which would make σου a kind of possessive movement of the play, the recognition by Admetus of what his life now is
genitive implying accusation ("The not—telling is yours!" i.e., "your and will become. Once again, as in other parts of the play (though
responsibility") may perhaps be safely rejected. Nevertheless, the verse occasionally the sequence is reversed), the theme is introduced in sung or
expresses Heracles' amazement (as at 816) that his host would let him chanted verses (in this cases in the form of a kommos) and then restated
remain In such ignorance of his bereavement and prepares us for the in more precise, even realistic terms, in an iambic (or "dramatic")
hero's later rebuke to Admetus, at 1008-18. passage.
837—60 The elevated tone of this speech contrasts sharply with that of The kommos (the word originally signified a beating of the breast in
the roystering guest of a moment before. Cf. Van Lennep, ad l o c . , lamentation) is the term used for passages in which an actor (or actors)
who comments also on Heracles' re—introduction of himself, "stating sings (or, as here, chants in anapaests) alternately with the Chorus' songs,
his titles to glory." usually at moments of heightened emotion in the play's development. Here
842 And repay Admetus' favour: Once again the concept of χ ά ρ ι ς the chants of Admetus, which anticipate and then intervene between the
("favour for favour") is central (as in the case of Apollo and strophic stanzas of the Chorus, express his most bitter grief, as he returns
Admetus) to the recognition of Admetus' egregious hospitality. to his empty halls, envying first the dead (866 ff.) whom he longs to join,
845, cf. 851 These gruesome images of Death gorging himself on the and then the unmarried and childless (882 ff.) who avoid such agonies as
blood of the sacrificial victims serve to remind us of the primitive he is now suffering.
folk—tale aspects of the Alcestis legend. The choral portions of this kommos exhibit a clear, formal distinction
On blood rituals in connection with burial of the dead and with between their first and second strophic pairs, corresponding, perhaps, to a
conjuring up of the dead (as at Homer, O d . 10.517-37; 11.23-50), distinction in emotional tone. In the first strophic pair, Admetus punctuates
see Burkert, Greek R e l i g i o n , 60. Burkert has nothing to say, however, the lyric stanzas with the interjections of grief (as in the text printed,
on the unique feature (Death's blood-lapping) of the present passage. though cf. also a p p . c r i t . ) Here the choral passages do not provide a
846-9 Cf. the fragment of Phrynichus' A l c e s t i s , quoted in the continuous song, the interjections supplying breaks between the verses (the
Introduction (p. 31), of which Heracles' description of his proposed metre is, in any case, closer to recitative) which may, indeed, have been
wrestling-match with Death is mildly reminiscent. sung by the Chorus—Leader or by individual members of the chorus. The
850-3 These verses seem to preserve a hint of the version found in second strophic pair, on the other hand, provides uninterrupted songs and
Apollodorus (1. 9. 15) and Plato (Symp. 179 b 5 ff.) which provides expresses (especially at 903—10) a more formal and conventional
an alternative ending to the Alcestis myth. (The passage may also cast "consolation theme".
doubt on the somewhat unlikely view of Robert that Plato may have On the uses and typical forms of the kommos in Greek Tragedy, see
invented the milder version. Cf. Introduction, pp. 31-2.) especially H . D . Broadhead, The Persae of Aeschylus (Cambridge 1960)
855-60 These verses, giving Heracles' own account of his reason for Appendix IV, 310-7. For other references, see also Collard, Supplices Π,
undertaking this mighty favour for Admetus, might be said to mark 391-2.
the climax of "the hospitality theme" - at least insofar as it reflects 864-71 How might I be done with life? Here and in the following
favourably on the King - and to validate the Chorus' confidence sentence (as also at 897 ff., below) Admetus seems to express
(expressed at 602-5) that the pious man will always fare well. Taken something very like a death-wish. Unless the verses are to be taken

188 189
 as merely a rhetorical and conventional expression of extreme grief that the poet is thinking of his friend Anaxagoras' endurance of his
and mourning, it is hard to see how they do not imply regret (which son's death, may safely be ignored; cf. Dale's note.)
Dale would deny Admetus, cf. p. xxv and her note on v. 939) for 912 Ο form familiar of my house ... (ώ σχήμα δόμων): this moving and
9
the acceptance of Alcestis sacrifice. almost untranslatable apostrophe by Admetus suggests, in the context,
9
On death wishes in general, see Collard s notes on Eur. Suppl. 86 not merely the "shape" or "appearance" of the house (the literal
and 454 and references there given. (Collard [1975] Π.130-1, 232). meaning), but also the associations which that familiar appearance
9
Collard s examples do, it is true, remind us of the conventional, conjures up, particularly at this grievous moment in the King's life.
rhetorical aspect of such passages. (For the "pathetic" motif, employed here and at 941, of re—entering
870—1 This is the only passage in which Death, the figure from the bereaved house, cf. Eur. Suppl. 1095 ff.)
folk—tale or popular mythology, is mentioned in direct connection 913-25 Bitter contrasts of past happiness (τότε μέν... 915), especially
(and servile connection, at that) with Hades, the Underworld lord of memories of wedding days, with present sorrows (νυν δ' ... 922)
9 9
traditional or 'literary myth. In Heracles speech at 837 —60, to be constitute another commonplace in tragic lamentations. Dale compares
sure, Heracles has spoken of confronting Death (843 ff.) and then, if Aesch. PV 555-60; Eur. HF 10, Suppl. 990, H e l . 722. Cf. also Eur.
he failed to find him at the tomb, of going below to the murky Suppl. 990—1008 and Collard's comments ad l o c . on recurrent motifs
domain of Persephone and her lord (i.e. Hades himself.) Admetus in passages of lamentation.
also, in an earlier passage (357 ff.), has wishfully imagined himself as 935 —61 This speech from Admetus provides the climax to the King's
beguiling Persephone and her husband with song. However, in the "tragic recognition" and the climax also, at least within reasonable
Prologue and the exodos (or final scene), no concessions are made to expectations, of "the profit and loss" theme. Alcestis, w h o died that
99
"canonical myth : Apollo and Heracles (the latter by his report of the he might live, has actually, in the King's view, gained more than he
9
matter, 1140-2) deal directly and solely with Death, and Alcestis has in achieving a fair reputation and the cessation of all troubles
fate appears to depend entirely on whether or not the monster is (935 —38). In the rest of the speech, Admetus shows first how he
prevailed upon (in one way or another!) to give her up. regards the sad and lonely burden that his own life has become and
872—7 : 889-94 As indicated in the a p p . c r i t . , the verses of this strophe secondly how he fears for his reputation (so essential to a King in the
and antistrophe have been variously distributed between the cnorus and heroic age) in letting his wife die for him. άρτι μανθάνω: "Now, too
Admetus in different MSS. Considerations of metre, sense and syntax late, I understand" (940) sounds the keynote of the speech and the
9
indicate that the attributions here printed in the text are the correct King's exposition of his "too-late knowledge" hints at the play s
9
ones. Admetus interjections, while they typify a regular feature of potentially tragic meaning: "the irony of human intentions measured
k o m m o i (laments sung by Chorus and Actor[s]), are the more against their outcome", as Dale has aptly described it (save that Dale
9
effective in that they often break into one of the Chorus* is thinking here almost exclusively of Alcestis intentions in saving the
99
"consolations causing them to be left incomplete (as at 875) or else King's life).
(as at 891-2 and 892-3) to be completed after the interruption. 939 I who ought not to be living etc.: this is Admetus' first admission
882—8 I envy those mortals who have no wife, no children ...: for one that he has contravened his fated lot by continuing to live, ου χρήν,
aspect or another of the sentiments expressed in these verses, cf. however (as several editors have pointed out), refers simply to this
H i p p . 187 ff., 258-60; Med. 1090 ff. These similarities, together with 9
contravention of fate, not to any moral dereliction, on Admetus part.
the questionable relevance of "children's illnesses" (885), on which 940 Now, too late, I understand: Agave expresses the same bitter
Dale has also commented, rather underline their conventional nature realization at B a c c h . 1296; cf. also B a c c h . 1345.
as 'commonplaces' of self—pitying complaint. 941-3 When I go in: the MSS reading εισόδου ( l i t . "a
903-10 There was once someone in my family ...: here the Chorus' going-indoors") at v. 943 provides a small but interesting problem;
consolation takes the form of a t o p o s , or "commonplace" of Lenting, followed by several other editors including Murray, van
consolation speeches (viz., "I knew someone worse off than you and Lennep, has "corrected" this to έξόδου ("a going-outdoors").
yet he bore his bereavement with moderation"). However, the However, the arguments for the "correction" (the repetition of the
consolation assumes an ironic overtone in that the particular lot of the same word from 941 and, perhaps, editorial association of friendly
anonymous sufferer which the Chorus described is identical with what greeting with "going out" rather than with "coming home") are
Pheres' lot would have been, had Admetus and not Alcestis died. probably insufficient to justify it. (Nauck, somewhat arbitrarily, rejects
(The "autobiographical interpretation" of these verses, to the effect 943 as spurious.)

190 191
947 dirty floors: this deft "domestic" touch, inserted among the woes religion known as Orphism. Since one of the central doctrines of
which drive Admetus outdoors, helps appropriately to lower the tone Orphism was metempsychosis, or reincarnation, and since Orpheus
from the tragic to the "sordid-pathetic". Cf. Introduction, p. 41. himself (cf. 357 ff. and note) was alleged to have returned from a
954-61 Here Admetus voices for the first time his fear of malicious visit to Hades, Orphic lore would seem a suitable source to consult
gossip (of which Pheres has warned him, 705) for allowing his wife to (however unprofitably) when seeking an antidote to "Ανάγκη. The
die in his place. The two passages surely suffice to refute those critics scholium to this passage mentions a collection of Orphic tablets in the
(see Introduction Note 29 and pp. 34-5) who claim that in heroic temple of Dionysus on the Thracian river, Haemos ('Ορφεία ...
times, and so i n t h i s p l a y , such a sacrifice and its acceptance would γηρυς, here translated "the poet Orpheus" means literally "the Orphic
be expected of both parties concerned. If this was indeed the heroic voice" or "the voice of Orpheus"). Nilsson (see Dale's note ad l o c . )
code in the matter (and the situation can hardly have been a common thinks that the Chorus are referring to the utterances alleged to have
one!) it is clear that Euripides was not rigorously adhering to it in come from the severed head of Orpheus, after he had been torn
the present play. apart by the maenads. However, this seems an unnecessarily recondite
960-1 How then is it profitable for me to live ...: significantly, the interpretation.
speech ends with references to profit and to reputation, the two For a recent and authoritative discussion of Orpheus and Orphism,
"values" which have governed Admetus' decisions and of which his life see Burkert, G r e e k R e l i g i o n , 296-301. Burkert stresses literacy as a
is now bereft. characteristic feature of Orphism, "in a field that had previously been
dominated by the immediacy of ritual and myth" and mentions recent
Fourth Stasimon 962-1005 discoveries (including a gold leaf with Orphic inscriptions, from
The Chorus* final ode provides a fitting close to the possible and Hipponion) some of which establish a substantial Orphic literary
(dare one say?) the tragic action of the play. Its opening strophic pair tradition at least as far back as the fifth century B . C . ; our earliest
reminds us of the ineluctable quality of Necessity, who has no cult and Orphic evidence of any kind (apart from legend) does not go beyond
heeds no sacrifices, just as the concluding stanzas of the parodos (112 ff.) the mid—sixth century. (See Burkert, p. 296 and nn. 3 and 4.)
have reminded us that there is no god to. whom they might pray to save 972 Of this goddess alone (μόνας) ...: the emphasis, by the adjective's
Alcestis from death. (In this connection, see also note on 972, below.) position, on the singularity of this aspect of the goddess recalls the
In the second strophic pair, the Chorus (adopting, as often, a more similar emphasis, by the same device (μόνος δ', 122: see note ad
personal tone) remind Alcestis that even the demi—gods (the children of l o c . ) on the son of Phoebus, Asclepius, in the p a r o d o s . The repetition
gods and mortals) are victims of the same grim goddess, Necessity — and is probably intentional, for in the earlier passage we have been told
then (in the antistrophe) remind us that Alcestis' renown and honour will that only Asclepius, if Zeus had not cut short his career for so
be more like that of the gods than of mere mortals. Thus the final stanza presuming, might have been able to restore Alcestis from the dead
provides, by its suggestion of another sort of victory over death, a kind of (i.e., might have prevailed against "Ανάγκη).
reversal of the preceding strophe and, in a larger sense, of. the whole 976 —7 May you [Necessity! not come upon me more strongly ...: such
preceding ode. It ends with an imaginary salutation at the tomb of fears of divine power on the part of the Chorus tend to be a
Alcestis, hailed by future passers—by as a blessed spirit whose renown will commonplace in Greek Tragedy, sometimes occurring in an erotic
never die. context (cf. Aesch. PV 894-7; Eur. H i p p . 522-9).
965 Necessity (Ανάγκη): the Greeks themselves were probably somewhat 980 iron among the Chalybians: the Chalybians, who lived south of the
uncertain about the precise divine status of this Power and of her Black Sea, were the traditional iron—workers of the ancient world.
relations with the other gods. (Cf. Aesch. PV 515-18, where the 989-90 Even the offspring of the gods moulder in the darkness of death:
divine Chorus itself questions Prometheus about Ανάγκη) Unlike most Once again, the Chorus is probably thinking of Asclepius, whose
other gods, she has no cult (972 ff.) The comparative strength of blasting by Zeus, for raising men from the dead, has already been
* Ανάγκη (and of Μοίρα or ΑΙ σα, Fate) and of Zeus seems to have referred to several times (e.g., at 122-9). It is ironic, however, that
been a recurrent question, ambiguously answered. (Cf. again PV 515 the description "offspring of the gods" applies also to Heracles, son of
ff; cf. also Homer //. 16.440 ff.) Here, the Chorus can find nothing Zeus and Alcmene, who will, in this folk—tale contradiction of
s t r o n g e r than "Ανάγκη and even Zeus is represented as having to act Olympian mythology and authority, raise Alcestis from the dead.
in concert with her (978 -9). σ κ ό τ ι ο ι , here translated "in the darkness of death", is taken by the
968-9 Orpheus was the founder, or apocryphal founder, of the mystery scholiast to refer (as an attributive rather than a predicative adjective)

192 193
 to the c l a n d e s t i n e children of the gods, i.e. children with one mortal illustrated both by Alcestis' sacrifice and by the tender and noble emotions
parent. This seems a reasonable suggestion, though Dale, who quotes of her family. (See A . Rivier, Essai sur l e T r a g i q u e d ' E u r i p i d e p. 50.)
the relevant scholium, doubts that the word would be used in this way 1014 Mourning for someone not in the family: Heracles uses the words
of semi—divine children as it was of purely mortal ones. he has used when deceived as to the nature of Admetus* bereavement.
H w
1003 and now a blessed spirit is: the word δαίμων (translated spirit ) Cf. v. 778 and notes on w . 778 and 810-11.
does not, of course, have a divine connotation here, though the 1017 I chide you, yes I chide you: this statement brings to its climax
Chorus are, perhaps, raising Alcestis to the rank of Hero in the sense Heracles' "rebuke" of Admetus (1008—17) for not confiding in him
in which Pindar sometimes uses the word: individuals between gods concerning the death of Alcestis. As we have seen (855 —60 and
and men, distinguished by divine parentage o r by exceptional deeds. Note), Heracles' admiration for his friend's hospitality outweighs his
On the other hand, several editors compare Hesiod O p . 121 ff., sense of "offence" and so we need not take this "rebuke" as seriously
where the word δαίμονες is used of the spirits of heroes of the as some critics have done. The sudden transition to "the veiled
Golden Age, after their death. woman", at 1019—20, suggests that what Heracles now has in mind is
H
1005 With such words as these: strictly speaking. such words" is subject a playful and appropriate "punishment" for his friend's deception to
v
of the sentence (unless one accepts Dobree s unnecessary emendation: accompany the truly magnificent reward for his egregious virtue.
see a p p . c r i t . ) but in English is better rendered as instrumental, with 1020 Take and keep this woman for me: Heracles now turns toward
an indefinite plural ("men") as subject. Alcestis whom he has led onstage as he entered — veiled, as becomes
clear when at 1062—63 Admetus recognizes her as "like Alcestis" only
Exodus (The Final Scene) 1008-1163 by her figure, and from 1121—22, where one would guess from the
With the conclusion of the sombre ode on "Ανάγκη (Necessity) and text that Heracles unveils her as he bids Admetus look more closely.
on Alcestis as a blessed d a i m d n , the "tragic aspect" of our play is over; at Some extraordinary conjectures have been offered about this scene by
the entry of Heracles leading a veiled figure, we are ready for the critics. D . L . Drew (AJP 52 [1931] 295 -319) has advanced the
fairy—tale finale. Once again, the themes of ξ ε ν ί α and χ ά ρ ι ς (hospitality fantastic idea that Alcestis is still a corpse when Heracles brings her
and "favour for favour") return to prominence, as Heracles restores back from the tomb, while A . W. Verrall, true to his usual
Alcestis, wrested at the tomb from Death, but not before Admetus is rationalistic approach, argues that Alcestis has never actually died! (A.
tested once again for the competing virtues of hospitality and loyalty to W. Verrall, E u r i p i d e s t h e R a t i o n a l i s t , [Cambridge 1895], A l c e s t i s ,
Alcestis. This time, as we shall see, the King goes through an agony of 1-128.)
resistance before Heracles succeeds in re—establishing his claims as guest 1033 gain (κέρδος): Heracles uses this recurrent term for the woman
over Admetus' promises to his dying wife. But all anguish ceases when the whom he has won as a prize but the "gain" will (as usual) be
second recognition (this time a joyous one) takes place and the King Admetus'.
declares that he is indeed a lucky man (1158). 1042 -69 During this highly dramatic passage in which Admetus begs
This second scene between Admetus and Heracles provides a kind of Heracles to take his "prize" away for someone else to keep, the King
replay in reverse of the first scene (476 ff.) between them. There, too, is gazing intently (as the lines indicate) at the veiled figure of
Admetus' hospitality was asserted at the expense of a promise to Alcestis Alcestis. Unconscious recognition of his wife is clearly present from
and in both scenes the crucial element is provided by the same hidden the effect her presence has on him: he would not, he declares, be
identity, that of Alcestis (dead, in the earlier scene; alive in this one.) able to abide her presence without tears (1046—7). Quieter and more
This time, however, it is Heracles, the guest, who knows the truth. He "appropriate" concern for the sexual safety of the unattended stranger
plays, with comic irony, on his friend's ignorance and so requites him, but (whose youth is noticed: νέα γυνή / νέα γάρ ... 1049—50) leads
without malice, for the ambiguous deception he himself has suffered in the rather abruptly to the rhetorical questions "Am I to put her in my
earlier scene. wife's chamber? ... and even in my wife's bed?" (1055—6). And from
Most critics tend to accept the happy ending of the A l c e s t i s at face this Admetus' now fevered thoughts imagine the citizens — and then
value and without any suspicion of irony, though there have been some Alcestis herself - as accusing him of infidelity, with his young guest,
notable exceptions (see Introduction, Part III,iv). As an antidote to the to his saviour's memory (1057—60). Here Admetus interrupts his
qualifications suggested in the present treatment of the play, the reader speech with an impassioned cry to the veiled woman herself, telling
might like to consider Andr6 Rivier's idealizing conclusion about the play her how similar she is, "in form and figure", to Alcestis, and an
and its ending as a final celebration of the beauty and glory of life equally impassioned plea to Heracles to take her away, for, in gazing

194 195
 at this likeness, he can no longer restrain his tears (1061—8). It is a grammar be found acceptable, the resulting sense (see translation)
speech of considerable emotional power and one which well provides a somewhat feeble thought sequence in the context. As Dale
exemplifies the poet's psychological subtlety, particularly (as Zurcher comments, "the interpolation [if such it be] appears to come from
has noted in his comments on Euripidean characterization: W. 331, 1095 being added to keep the stichomythia correct".
Zurcher, Die D a r s t d l u n g des Menschen i m D r a m a der E u r i p i d e s , 1097 true to your noble ways (γενναίως): one MSS tradition (see a p p .
[Basel 1947] pp. 63-4 and Chap. ΙΠ p a s s i m ) in individual scenes and c r i t . ) reads γενναίαν, in which case "noble" would be descriptive of
set speeches. the veiled "stranger". She i s , of course, "noble" but it seems unlikely
1060 for my dead wife as well: This additional phrase makes it clear that that Heracles would "blow her cover" to this degree at this point in
Alcestis, in Admetus* view, would regard not merely his taking of his "game" with Admetus — unless as a daring irony. However, the
another wife but even of a mistress, to the bed which once was hers, reading of the other MSS, γενναίων modifying δόμων (i.e., "Receive
as a form of infidelity to her. (On the zeugmatic construction of this woman into your noble home"), seems almost as satisfactory as
1057-61, which is difficult to render precisely in English, see Dale's Lenting's "correction" γενναίως, l i t . "nobly receive ...", accepted by
note). Diggle.
1071 whatever the god gives us ( l i t . "the gift whatever it is"): Earle's 1101 favour ( χ ά ρ ι ς ) : a new twist is given to the dynamic and
emendation ή τ ι ς εστί (cf. also a p p . c r i t . ) is a bold one but ό σ τ ι ς self—renewing concept which has governed so much of the action of
ε ί συ, the reading of most MSS, seems unlikely: σ\> would not have this play.
been added in an indefinite statement ("whoever you are") and L's 1103 you too share my victory: i.e., "In yielding, you too conquer".
reading ό σ τ ι ς ε ί without συ is metrically impossible. The Heracles' ostensible meaning is that by allowing him to prevail in this
emendation, if a possible one (cf. 1062, which may have helped in matter, Admetus will win his love and gratitude, the hidden meaning,
the alleged corruption), provides a nice ironic ambiguity (as Dale has of course, that Admetus will win more than he now realizes. (This
pointed out in considering this possibility): the Chorus is thinking of verse, especially when read in conjunction with πιθοΟ at 1101, is
"whatever gift" the god might send; the audience thinks of the woman strangely reminiscent, in sense, of Aeschylus, Agamemnon 943, despite
("whoever she is"), whose identity they know, embodied b the gift, the textual uncertainties of the latter verse: might there be an
καρτερείν, "to put up with", "to endure", adds a touch of comic intentional ironic echo on the poet's part? Clytemnestra's skilful [and
irony, for what Admetus is being asked "to put up with" is actually hypocritical] "clinching" argument in this fateful agdn with
his beloved wife. Agamemnon, some twenty years earlier in the same theatre, may well
1084 And so I shall enjoy life nevermore: a further reminder of the have become a favourite quotation and one need look no further
"too—late knowledge" regret which Admetus has already expressed at than Aristophanes' F r o g s , nearly a generation later than the A l c e s t i s ,
940. to know how well at least the more receptive members of the
1086 if time means death: time, if there is enough of it, must always audience remembered their Aeschylus and perhaps passed favourite
mean death; only in this sense, says Admetus (somewhat "cleverly") is passages down to their children.)
Heracles right in alleging that time will soften his loss. 1105-10 Admetus finally yields, the fear of his guest's displeasure (1106)
1087—96 The implication now becomes fairly obvious, in this part of the overcoming the fear he has previously insisted on. It is interesting that
dialogue, that Heracles really intends the veiled woman for Admetus' the word χρή is used three times in this passage: twice (1105, 1106)
bed. Admetus who clearly so understands him, regards this eventuality for the obligation Admetus feels toward Alcestis to send the veiled
as involving a gross infidelity to Alcestis "wherever she is". Contrast woman away, once (1110) for the obligation he feels to Heracles to
the scrupulously loyal statements at 1092 and 1096 with the statement take her in.
at 541, when he is seeking to persuade Heracles to be his guest. 1118 as if I were cutting off the Gorgon's head: Perseus succeeded in
1094-5 These verses have been deleted at least partly for (not cutting off the Gorgon's head only by not looking directly at her.
insuperable) grammatical difficulties. The construction ώς ("on the There is an almost comic irony in this expression of Admetus'
understanding that") with the participle καλών needs a finite verb, extreme reluctance to look upon the one whom, in a moment, he will
expressed or understood, with whose subject the participle agrees, be to overjoyed to see.
α ί ν ε ι (imperative, "praise [me]") may perhaps be understood from 1119-20 These verses are rejected from Diggle's text (see a p p . c r i t . )
αίνώ (1093), as the required verb, though it is separated from the presumably because they interrupt the thought sequence of 1118 and
participial construction by another brief sentence. But even if the 1121 while 1120 further expresses a sentiment which is premature

196 197
 before the instruction given in 1121. Those who prefer to keep them Lines in Sophocles and Euripides," C Q 37 [1987] 51-64 and the
may be interested in Michael Halleran's note, "Alkestis Redux", H S C P bibliographical references there given, especially in nn. 3 and 8).
86 (1982) 5 1 - 3 . Halleran observes that the unusual structure of 1119
(double a n t i l a b e , of which there are only six examples in Euripides)
repeats the structure of 391 at a similarly crucial moment in Alcestis'
"death scene".
1121 Look at her now an implicit stage direction for the unveiling of
Alcestis is included with this command.
1135 no envy from the gods: this is a regular apotropaic formula
appropriate whenever good fortune beyond the normal lot of mortals
might be thought to occasion divine ill—will.
1144-6 Not yet is it permissible for you to hear addresses ...: the veiled
figure of Alcestis would be enacted by a mute (the actor originally
playing the part of Alcestis would now be acting Heracles' role) and
so cannot, of course, speak. (Such an eventuality would, in any case,
have led to unwanted dramatic complications!). Euripides provides a
suitable ritualistic reason for her silence (presumably of his own
invention, since resurrection from the dead cannot have been
common): the "desanctification" (cf. Dale's note) mentioned at
1145—6 refers to the release of Alcestis' body from the proprietary
rights established over it by Death's ritual described at 74-6.
Triplicity, here involved in the requirement of three days silence on
Alcestis' part, is a regular feature of Greek ritual. Moreover, as
Burkert notes ( G r e e k R e l i g i o n , 194, n. 38), the third day after burial
is normally marked by renewed food offerings to the dead.
1150 the tyrant son of Sthenelus: i.e., Eurystheus; cf. 481-3 and note on
481.
1154 and the whole tetrarchy: thus not only the inhabitants of the city
but of the whole surrounding province are included in the
proclamation. (As Dale notes, a tetrarchy, strictly speaking, refers to
one of four kingdoms and may here refer, anachronistically, to the
one of the four Thessalian kingdoms which Admetus ruled.)
1159—63 The last five verses also conclude three other plays of
Euripides: A n d r o m a c h e , H e l e n a , Bacchae and the last four verses
(1160-63) conclude Medea as well. (See Barrett's interesting comment
[in his note on H i p p . 1462-6] on choral "tail-pieces", all but three
of them in anapaests, with which all the extant plays of Euripides
end; Barrett raises doubts concerning the Euripidean authorship of
repeated and particularly of inappropriate tail-pieces. The verses
here concerned are judged inappropriate at the end of the
A n d r o m a c h e , H e l e n a , Bacchae and Medea; while the verses are
appropriate to the end of A l c e s t i s . Barrett reasonably expresses
suspicions [based on guilt by association, as it were] concerning the
A l c e s t i s ' tail-piece as well. For a further discussion of this whole
problem see now also Deborah H . Roberts "Parting Words: Final

198 199
 INDEX

Note: Occurrences of cognate forms of a word are subsumed under a

single heading, e.g., "ironic" under "Irony"; "tragic" under "Tragedy"
etc. References to characters in the play (with the exception of a
few references to general discussions of their treatment) are omitted
on the grounds of frequency of occurrence.

Admetus, treatment of 43ff., 54—5, Hesiod, 31, 50, 155, 168, 193.
181-2, 193ff. Homer, 31, 50, 159, 172, 178, 187.
Aeschylus, 31, 34, 162, 165, 166, Hospitality, 36, 37, 39, 42, 44,
168, 178, 180, 188, 190, 191, 46-7, 166, 169, 174, 176, 177,
192, 196. 178 - 9 , 187 - 8 , 193ff.
A g o n , 167, 180. Hyginus, 32.
Alcestis, treatment of her death 38, Irony, 36, 37, 43-5, 46, 47, 52,
53, 164-170. 163, 166, 170, 171, 174, 175,
A l c e s t i s , date, 29; 176, 177, 182, 189, 190, 193.
dramatic structure, 37ff, 52, 183; K o m m o s , 188-9.
Mythical adaptation, 30-35; Melodrama, 36.
other interpretations, 46ff. Metre, 159, 163, 164, 171, 175,
Anaxagoras, 190. 178, 181, 188, 197.
A n t i l a b e , (broken dialogue), 167, Monody, 164, 170-1, 172.
197. Myth, 29, 30-35, 166, 169, 172,
Apollodorus, 31, 33, 50, 178. 178, 189, 192.
Aristophanes of Byzantium, 29, 154. Orpheus, 192.
Aristophanes, the comic poet, 162, Parodos, 159ff., 163.
165, 170, 196. Phrynichus, 31, 51.
Apollodorus, 31, 33, 50, 178. Plato, 32, 176, 183, 187.
Artemis, 32. Prologue, 30, 37, 38, 52-3, 154ff.,
Asclepius, 30, 34, 37, 159, 160-1, 166, 168, 189.
192. Pro-satyric, 30, 35-6, 42, 48.
Carnean festival of Apollo, 33-4, Ritual, 160, 187, 192, 197.
173. Satyr-play, satyric elements, 30,
Children, 38, 163, 167, 168, 169, 35-6, 51, 174, 183ff.
171, 174, 181, 189, 191, 193. Sophisms), 57, 175, 528.
Choral Odes, 159ff., 163ff., 172ff., Sophocles, 166, 169, 173, 175, 179,
178ff., 191ff. 198.
Comic elements, 30, 42, 48, 51, 52, Staging, 47-8.
183-4. Themes and Motifs (principal and
Costumes, 47-8. recurrent), 37ff., 159, 163, 166,
Fates, the, 33, 34. 168, 172, 174, 175, 177 - 8 , 181,
Favour ( C h a r t s ) , 32, 37-9, 41-3, 187-8, 190-1, 193ff.
52, 54, 168, 177, 181-2, 193. Tragedy, 36, 52, 174, 188, 190,
Folk-tale elements, 31, 33-5, 173, 191, 193.
189. Zenobius, 32.
Herodotus, 168. Zeus, 30, 37, 159, 160, 161, 191, 192.
Other Greek texts in this series include:

Aeschylus Eumenides ed. A.J. Podlecki (1989)

Aristophanes A c h a r n i a n s ed. A.H.Sommerstein
Birds
Clouds
Knights
Peace
Wasps
Dio Cassius Roman H i s t o r y Book 5 3 . 1 - 5 5 . 9
ed. J.W.Rich (1989)
Euripides E l e c t r a ed. M.J. Cropp
Orestes ed. M.L. West
P h o e n i c i a n Women ed. Elizabeth Craik
T r o j a n Women ed. Shirley Barlow
Greek Orators I A n t i p h o n , L y c i a s
ed, M.Edwards & S.J.Kern
Heilenica Oxyrhinchia ed. P.R.Mckechnie & S.J.Kern
Menander Samia ed. D.M. Bain
Plato Meno ed. R.W. Sharpies
Phaedrus ed. C.J. Rowe
R e p u b l i c 10 ed. S. Halliwell
Plutarch Life of C i c e r o ed.J.L.Moles (1989)
L i v e s of A r i s t e i d e s and Cato
ed.D.Sansone(7959)
Sophocles A n t i g o n e ed. A.L. Brown
Thucydides History 2 ed. P.J. Rhodes
Pylos 425 B . C . ed. J. Wilson
EURIPIDES; ALCESTIS,
edited with translation and commentary by D.J.Conacher

The theme of Euripides' Alcestis blends the primitive

folk—tale of the self—sacrificing bride, Alcestis, and of
9
Heracles heroic struggles with the ogre Death, with a
99
morality tale of "virtue rewarded , in this case twice
rewarded. The Alcestis is the only tragedy which we know
to have been produced in the position usually allotted (at the
99
Athenian tragic festivals) to the semi—comic ^ "satyr—play .
Like a satyr—play, it has a happy ending but does the poet
intend his audience to interpret the play in quite such simple
terms? Opinions differ widely but the ironic, slightly
mocking tone of the play suggests, at least to some critics,
that more sombre meanings may lie beneath the surface of
this beautifully constructed little masterpiece.

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